
Class JR_N__i_LLO 
Book 7T"3 S 4 



THE 



BOOK OF TABLEAUX 

S AND ii 

i ( 

SHADOW PANTOMIMES. 

CONTAINING 



CHOICE COLLECTION OF TABLEAUX VIVANTS, OR LIVING PIC- 
TURES, EMBRACING MOVING TABLEAUX. CHARADES IN TAB- 
LEAUX, MOTHER GOOSE. TABLEAUX AND FAIRY-TALE 
TABLEAUX; TOGETHER WITH DIRECTIONS FOR 
ARRANGING THE STAGE, COSTUMING 
THE CHARACTERS. AND FORM- 
ING APPROPRIATE 
GROUPS. 



By t SAEAH ANNIE FEOST, 

Author of "The Parlor Stage," "Amateur Theatricals,*' etc. 



TO WHICH ARE ADDED A NUMBr 

SHADOW ACTS AND PANTOMIMES, 

WITH COMPLETE STAGE INSTRUCTIONS. 




NEW YORK : 

DICK & FITZGERALD, PUBLISHEES. 



u*-' 



Entered according to Act of Congress in the year 18G9, 
By DICK & FITZGERALD, 
In the Clerk's Office of the District Court of the United States, for the South- 
ern District of New York. 



Payne Brothers, 

Electrotypers and Stereotypers, 

26 Spruce Street. 



PEEFAOE. 



The little book of Tableaux Yivants now offered to the 
public, is intended to fill a want, long and loudly expressed 
by the amateurs who are fond of this class of amusements. 
The complaint is made every winter of a want of suitable 
subjects, or of directions how most effectively to group the 
performers. The old established pictures are worn threadbare, 
and many are not able to take the time, or command the 
books to search out new ones. 

The writer has endeavored to give a variety of pleasing 
pictures, easily costumed, grouped and arranged, suited to all 
ages, each variety of wardrobe and scene. Those requiring 
claborate'costuiiies and scenery must be appropriated by per- 
formers who can command an amateur theatre, but there 
will remain an abundance for such as have only their parlors 
for a stage and their every-day wardrobes for costumes. 

"We know it is not easy to dress Queen Elizabeth and place 
her in a forest, at five minutes notice, but the good nature 
of the audience may generally be relied upon to forgive defi- 
ciencies, and the amateurs themselves will be surprised to find 
how a little practice will sharpen their ingenuity in the ar- 
rangement of scenes and dresses. 

The second series of Tableaux, commencing on page 10G, 
is here introduced from " The Sociable ; or One Thousand 

3 



4 PREFACE. 

and One Homo Amusements," and will be found a valuable 
addition to the list of subjects, as well as affording much ex- 
cellent information in regard to tableaux in general. 

The book concludes with full directions for producing the 
Shadow Pantomime, together with a few comic Acts and 
Pantomimes illustrating the manner in which this amusing 
entertainment should be arranged ; also containing hints and 
directions for adapting humorous pieces to the requirements 
of the shadow curtain, all written expressly for this work by 
a gentleman thoroughly experienced in the subject. 

A glance at the table of contents will suffice to show what 
a varied and ample fund of entertainment to enliven many 
a long winter's evening is contained in this little work. 



STAGE DIBECTIONS. 

H., right of stage; L., left of stage; C, centre; II. C, 
right centre ; L. C, left centre ; as viewed by a performer 
on the stage, facing the audience. 



CONTENTS. 



PAGE. 

TABLEAUX VIV ANTS 9 

Yv T aiting for the Verdict , ■. . 11 

Neglected Flowers 12 

Grandfather's Watch 13 

The Fortune Teller. .' 13 

My Eye and Betty Martin 14 

The Stupid Book • 15 

The Valentine 15 

Good Night 15 

One too many 16 

Dressing the Bride 16 

The Well of St. Keyne 17 

Open your Mouth and shut your Eyes 18 

The Polish Exiles 19 

Old and Young America 20 

The Post Mistress 20 

Charity 21 

Heel and Toe 22 

Confiscated 22 

The Pinch of Snuff 23 

The Tiff 23 

"Who is the Tallest 24 

Sitting for a Picture 24 

Cupid Conquering Mars 25 

Is he not a Tease 26 

The Dancing Lesson 26 

The Latest from the Front 27 

5 



6 CONTENTS. 

PAGE. 

The bashful Lovers 28 

Eory O'More and Kathleen Bawn 28 

Hubert and Prince Arthur 29 

LETTERS ON TABLEAUX 30 

Tableaux Vivants. 

The Bleeding Nun 31 

Lifting the Veil 32 

The Sorceress 33 

Grandmother's Trunk 34 

The Dying Brigand 35 

Second Sight 36 

The Intercepted Letter 37 

Moving Tableaux. 

The Trial of Constance de Beverly 37 

• The Eriar of Orders Gray 40 

Joan of Arc's Trial 41 

PROVERBS IN TABLEAUX .46 

It is well to have two Strings to your^Bow 46 

Better half a Loaf than no Bread 47 

A Stitch in Time saves Nine 47 

"Waking up the "Wrong Passenger 48 

Hunger is the best Sauce 48 

Dog in the Manger 49 

Two are Company ; Three make a Crowd 49 

The Gray Mare is the better Horse 50 

All is not Gold that Glitters 50 

"When Poverty comes in at the Door, Love flies out at the "Window 51 

A Bird in Hand is worth two in the Bush 51 

A new Broom sweeps clean 52 

'Tis an ill Wind that blows Nobody good 52 

You cannot put an old Head on young Shoulders 54 

Count not your Chickens before they are Hatched 55 

Empty Vessels make great Noise 55 

EoTbidden Fruit tastos sweet 56 



CONTENTS. 7 

PAGE. 

There is no Rose without a Thorn 56 

They are Chips from the old Block 57 

Listeners hear no Good of Themselves 58 

A Friend in need is a Friend indeed 58 

Charity begins at Home 59 

There's many a Slip 'twixt Cup and Lip 60 

Faint Heart never won Fair Lady 60 

"When the Cat's away the Mice will play 61 

It never Rains but it Pours 61 

One's Man's Meat is another Man's Poison 62 

The More the Merrier ; the Fewer the better Fare 62 

Better be an Old Man's Darling, than a Young Man's Slave 62 

Take care of the Pence and the Pounds will take care of themselves 63 

Fine Feathers make fine Birds........ , 63 

It is dangerous playing with Edge-Tools 64 

CHARADES IN- TABLEAUX , , 65 

Innocent 65 

Patchwork 66 

Songstress 67 

Dramatic 68 

Sweetheart 69 

Courtship 71 

Knapsack 72 

May Queen ^ 74 

Hat-band 75 

News-boy 77 

Hornpipe » 78 

Brickbat 79 

Bookworm 80 

Madcap 81 

Idol 82 

MOTHER GOOSE TABLEAUX 84 

Comprising Twenty-five Tableaux illustrating well-known Nursery 
Rhymes. 



8 CONTENTS. 

PAGE. 

FAIRY-TALE TABLEAUX 97 

Aladdin, Four Scenes from 97 

Bluebeard, Five Scenes from 98 

Cinderella, Four Scenes from 100 

Beauty and the Beast, Six Scenes from 102 

The Sleeping Beauty, Three Scenes from 103 

Little Red Ridinghood, Three Scenes from 105 

TABLEAUX VIVANTS from "The Sociable" 106 

The Gambler's Warning Ill 

Cagliostro's Magic Mirror 113 

The Burglary 114 

Mischief in School 116 

The Army and Navy 117 

The Drunkard's Home , 118 

Signing the Pledge ...119 

The Temperance Home 120 

The Duel 121 

Love and Jealousy 123 

The Music Lesson 124 

The Seasons 125 

The Musicians 127 

The Brigand's Family 127 

The "Witches in Macbeth 128 

Schiller's " Song of the Bell " 129 

SHADOW ACTS AND PANTOMIMES 143 

The Hungry Chinaman 147 

Coffee and Pistols for two 151 

A Clean Shave 155 

Box and Cox 159 

Hospital Practice 171 

Concluding Remarks 178 



BOOK OF TABLEAUX. 



TABLEAUX VIVANTS. 

There is scarcely any way of passing a social evening 
more delightful and popular than that offered by the per- 
formers of Tableaux Yivants to their audience, but it is but 
rarely that amateur performers can produce as good an 
effect as might be had from the properties within their 
reach. 

The first thing to be remembered is the fact that the 
representations are living pictures, and, therefore, must re- 
semble, as closely as possible, painted pictures. To ensure 
this appearance, regard must be paid to artistic effect in 
grouping, attitude, light and color. Too much color will 
produce a glaring, vulgar effect ; while too little will look 
dull and sombre. The more scenery and larger space that 
can be allotted to the performance the better the effect will 
be, but a parlor may be arranged, with but trifling expense, 
to represent the principal scenes required. 

The first requisite is a frame, which must fit exactly the 
space in the front of the stage. ' A platform stage is not 
necessary, but, where it can be conveniently arranged, is 
much more effective. The frame of wood should be at least 
a foot in breadth. The front must be covered with yellow 
cambric, with large rosettes of yellow gauze or lace at 
regular intervals, to represent carved work. Over the 

9 



10 BOOK OF TABLEAUX. 

a 

whole frame covering the space, that the pictures may be 
seen behind it, strain a piece of coarse black lace. Down 
the two sides of the frame, at the back, place candle brack- 
ets at regular intervals, to light your pictures. Candle light 
shows out color and complexion much better than gas, and 
you can easily soften or brighten your light by the number 
of candles used. 

Have a curtain of blue gauze fastened to the top of the 
frame, that can be lowered or raised at will. Further direc- 
tions for the arrangement of the room will be found in the 
letters, page 34, and also page 108. 

The best arrangement the writer has ever seen for a par- 
lor background is a semicircle of heavy wire, supported 
by strong posts at intervals, and running from one corner 
of the frame to the other, at the top. From this are draped 
folds of dark gray woolen, forming a complete background. 
A few flower-pots set around made a very respectable out- 
door scene, with the addition of some rustic benches and 
chairs, or if a garden, an arbor at the back, made of white 
covered sticks with a vine trailed over them. 

For a prison scene, a pallet bed, stone pitcher, wooden 
chair, and iron chain, are all that are required for an effec- 
tive scene. A farm-house scene needs only a wooden table 
and chairs, some shelves of crockery, a bird-cage, churn, or 
any other article of farm furniture that can be easily ob- 
tained. 

Parlor scenes are the easiest of all, as the curtain forming 
background need be only pushed away to one side to allow 
the usual furniture to be seen. 

It is a mistaken idea to crowd the stage with furniture, 
and where the character of the scene needs to be determined, 
one article in the centre will often serve the purpose as well 
as to put in a complete set of furniture.. Thus with the 
plain dark background, an attic can be furnished with a 
table and chair ; the table having a candle in a porter-bot- 
tle upon it, and the chair being minus a back. The interest 
ef the audience will be concentrated more upon the per- 



WAITING FOR THE VERDICT. 11 

formers than the furniture. Of course, when all the scenery 
and furniture can be easily obtained, to give the picture a 
perfectly natural, familiar look, it is best to use them. 

In regard to costumes, the best rule to observe is to obtain, 
as far as possible, a picturesque effect. Thus, a peasant's, or 
countryman's costume, should be that of the stage peasant 
or painted countryman, not the stern reality. 

It is simply impossible in the limits of a book of this size 
to give minute directions for costuming, grouping and ar- 
ranging each tableau. Much must be left to the taste and 
ingenuity of the performers, and the limits of their theat- 
rical wardrobe. But each picture is. so described that it can 
be easily filled up and arranged by experienced performers. 
Many are merely descriptions of pictures, that will make 
effective tableaux. 

Those arranged expressly for children are more minutely 
described, but must still be under the direction of older 
heads. 



WAITING FOE, THE VERDICT. 

The scene represents the ante-room of a court-house, with 
benches at the two sides, but no other furniture. Centre of 
background is an open door-way. 

Centre of room, seated upon the floor, is a woman dressed 
in a dark stuff gown, with a shawl over her shoulders, and 
a bonnet hanging by the strings around her neck. Her hair 
is disordered, her face excessively pallid, her eyes strained 
forward with a look of wild misery. Her hands are clasped 
over her knees. Lying upon the floor, at her feet, is a sleep- 
ing child. 

Eight of foreground, seated upon a bench, is an old man, 
with white hair, dressed like a farmer, his head bowed upon 
his hands. Beside him, facing audience, is a little girl of 
about fourteen, her eyes red with crying, who appears to be 
trying to rouse the old man. 



12 BOOK OF TABLEAUX. 

Left of background, kneeling beside the open door, is a 
young man in a rustic dress, who appears to be listening 
intently, and holds up his hands, as if to silence all the 
others. 

Eight of background, a young girl, plainly dressed, is 
trying to listen too at the open door, but is seated, holding 
a sleeping infant in her arms. 

Through the door-way, back to audience, a man, in the 
full black silk robes, and white wig, of an English lawyer, 
and carrying a roll of paper in his hand, can be seen. 

Every face must wear a look of strained anxiety, every 
attitude be that of listening, excepting the old man, who 
seems in utter despair. The dresses are all those of the 
poorer class, and all out-door attire. The hats of the men 
lie upon the benches, and in one corner a covered basket 
stands, with a white cloth thrown over it. The boy asleep 
at his mother's feet rests his arm upon his cloak and hat. 

NEGLECTED FLOWEBS. 

The scene is a market-place, where empty tables and over- 
turned chairs and stools, denote that the market is over for 
the day. Left of foreground, in front of an empty stall, 
are seated two little girls, and before them a basket full of 
bouquets of flowers. The elder one wears a straw hat, a dress 
of bright merino, and a black silk apron. She holds out a 
bouquet, with a pleading expression, as if imploring some one 
to buy it. The younger girl wears a dress of brown stuff, 
and a white apron. Her hair falls in loose curls, and over 
if is pinned a white handkerchief. She is rolling up her 
arms i$ her apron, as if to protect them from the cold, while 
she looks sorrowfully into the face of her companion. 

Eight of foreground, their backs to the children, as if 
they had just passed them, are a lady and gentleman in 
winter walking dress. He wears an overcoat, fur collar and 
thick gloves. She is dressed in a handsome silk dress, velvet 
cloak, furs and velvet bonnet. 



THE FORTUNE-TELLER. 13 



GRANDFATHER'S WATCH. 

The scene is a farm kitchen. Centre of room stands a 
table with a pitcher, tumbler and loaf of bread upon it. 
Beside this table is an arm-chair, in which is seated an old 
man dressed as a farmer. He wears heavy boots, long gai- 
ters, corduroy pants and a brown coat. In one hand he 
holds a pipe, in the other a large old-fashioned silver watch. 
Between his knees stands a very little girl, to whose ear the 
watch is held. She is dressed in a bright calico dress, white 
apron, leather shoes and worsted stockings. Her hair falls 
in curls, and she is holding them back with one hand from 
the ear where the watch is. The other hand is held up, the 
forefinger raised, as if listening intently. Leaning over the 
chair, and smiling at the child's pleasure is a young girl, 
dressed as a farmer's daughter, in a neat print dress, white 
apron, and checked handkerchief pinned over the hair. 

THE FORTUNE-TELLER, 

The scene is arranged to represent the interior of a tent. 
White drapery hangs round the background and sides, leav- 
ing the front open. In the centre is a large, upright pole, 
and around it are thrown kettles, cards, cloths and eating 
utensils in confusion. A table and chair stand left of back- 
ground. In the chair is seated a man, dressed as a gipsey, 
with velvet breeches, silk tights, a short, velvet jacket over 
a white shirt, and bright vest. Upon the table is a high- 
crowned hat trimmed with gay ribbons. Right of fore- 
ground, seated upon the floor, profile to audience, is a young 
girl, dressed as a gipsey. She wears a dark cloth dress, 
embroidered in scarlet, a scarlet cloak, and her hair (black) 
falls over her shoulders, from a white head-dress twisted 
carelessly around her head. Upon the ground in front of 
her are scattered cards. She is looking up at two young 
girls who stand in front of her, one of whom she holds by 



14 TABLEAUX VIVANTS. 

the hand. Her other hand is raised as if speaking with 
impressive gesture. The young girls stand, one faeing her, 
profile to audience, one a little back, facing audience. The 
girls are dressed in short, gay petticoats, dark dresses looped 
up, full, white muslin waists, black velvet peasant bodices 
laced with scarlet, buckled shoes, clocked stockings, round 
straw hats, and plenty of bright ribbons. The one whose 
hand the gipsey holds, is looking down, bashfully, as if 
shyly pleased. The other one looks roguish. Eight of fore- 
ground a young man in a rustic dress, straw hat and striped 
shirt, is lifting a corner of the tent and peeping in, while he 
raises one hand to attract the gipsey's attention, and shows 
a coin in the open palm of the other. Left of foreground, 
an old gray-haired gipsey woman, dressed in brown, with a 
gay handkerchief pinned over her head, is intently study- 
ing a pack of cards, spread out on the ground before her. 

MY EYE AND BETTY MAETXN. 

The scene is the kitchen of a farm-house. Eight of fore- 
ground stands a spinning wheel with a chair before it ; a 
shawl thrown carelessly over the back of chair. Left of 
foreground is a table, upon which are a bottle, tumbler, 
cocked hat and a book. Beside the table, facing audience, 
is a large arm-chair, in which is seated an old gentleman. 
He wears black velvet breeches, coat and waistcoat, long, 
black silk stockings, buckled shoes, and a gray wig. One 
hand holds an open book, the other is raised to express pain. 
One foot too is lifted from the ground. Leaning over him, 
holding one of his eyes wide open, and blowing into it, is a 
woman. She wears a white muslin cap, tied with a black 
ribbon, a skirt of striped woolen, short gown of calico, tied 
round the waist with a white apron, a small shawl pinned 
over the bosom, shoes trodden down at the heel, and short 
sleeves. Her face expresses interest ; the face of the old 
gentleman and his attitude express agony. 



GOOD-NIGHT. 15 



THE STUPID BOOK. 



The scene is a parlor. Centre of foreground, facing audi- 
ence, is a large arm-chair, in which is seated a little girl, 
with an immense book open before her. She is dressed in 
white, with knots of ribbon on her shoulders, a broad sash, 
slippers and pantalettes. Her hair falls in curls around her 
face. One hand is over her forehead, while with the thumb 
and forefinger she is holding her eyelids open. The other 
hand is partly over her mouth, which is stretched wide open 
in a yawn. The smaller the little girl, and the bigger the 
book, the better the effect. 

THE VALENTINE. 

The scene is a parlor. Centre of foreground, profile to 
audience, a young lady is seated in a large easy chair. She 
is dressed richly, and has a shawl thrown over her shoulders. 
Beside her stands a small table, upon which is a work bask- 
et, with some embroidery thrown over it. The lady is 
leaning back, and looking smilingly upon an open valentine 
she holds before her. Let the device be pretty, and held 
that the audience may see that it is a valentine. In her 
other hand the lady holds a ring, which sh» is pressing to 
her lips. 

Eight of foreground, behind the chair, a gentleman is 
stealing on tiptoe toward the lady, as if anxious to see 
secretly how his valentine has been received. 

GOOD-NIGHT. 

The scene is a nursery. Centre of room is a rocking 
chair, in which the mother is seated, facing audience, hold- 
ing a baby in a long, white nightgown in her arms. Beside 
her in her nightgown, kneels a very little girl, her hands 
clasped, as if saying her evening prayer. Eight of fore- 



16 TABLEAUX VIVANTS. 

ground is seated a little boy with one bare foot, unlacing 
his boot ; one shoe and stocking lies beside him. Left of 
foreground, the nurse is kneeling down, unbottonkig the 
dress of a little girl, who stands in front of her. Left of 
background is a crib. Sitting up in this, his fists screwed 
into his eyes as if crying, is a little boy in a nightgown and 
frilled nightcap. Eight of background, the father is just 
entering the room, with a little boy riding upon his shoul- 
der. The boy has a drum, and raises the sticks, but the 
father looks up to silence him, and points to the kneeling 
child beside the mother. The light should be very dim, and 
the children vary from baby to about ten years old. A cra- 
dle stands centre of background. 

ONE TOO MANY. 

The scene is a parlor handsomely furnished, with a win- 
dow in the background. The curtains are drawn back and 
the sash raised. Seated before the window, facing audience, 
is an old lady, in a large arm-chair. She wears a black silk 
dress, muslin kerchief pinned over the bosom, white cap, 
and spectacles. In one hand she holds a piece of knitting. 
The other hand is raised to hold her spectacles, so that she 
can look through them upon the floor. She appears to be 
looking intently at a letter, attached by a ribbon to a stone, 
which lies as if just thrown in at the window. The old 
lady's chair must stand forward as if out of sight of any 
one outside of the window. Just starting from a seat close 
by the window, is a young lady, who looks frightened, and 
reaches out her hand as if to pick up the letter, yet looks 
doubtfully at the old lady. She wears a handsome morning 
dress. Upon the window sill stands a work basket. 

DEESSXNG THE BEIDE. 

The scene is a lady's dressing-room. Eight of centre, 
profile to audience, is a toilet table, upon which jewelry, 



THE WELL OF ST. KEYNE. 17 

ribbons, gloves, fans and flowers are scattered. A large 
mirror is upon this table. Centre of room, facing the mir- 
ror, the bride is standing. She wears a white lace dress, 
over satin, an orange-flower wreath, white satin slippers and 
white kid gloves. Beside her, standing upon a chair, facing 
audience, is a young girl, dressed as a lady's maid, who holds 
a rich lace veil over the bride's head. At each corner of the 
veil, holding it so that the centre may fall upon the head, 
are the four bridesmaids, who wear white, trimmed with 
colors, one pink, one blue, one green and one lilac. Right 
of foreground, handsomely dressed in evening dress, is the 
mother, who is wiping away a tear, unperceived by the 
others. 

THE WELL OF ST. KEYNE. 

This tableau can only be arranged when the stage will 
allow an out-door scene. 

Bight of foreground is a stone arch, with a basin before it, 
into which water appears to fall from the mouth of a lion's 
head in the arch. Upon the^front of the arch the words 
" Saint Keyne " are engraved, and a figure of the saint sur- 
mounts the centre above the inscription. 

Kneeling before the well, his hand raised as if carrying 
the water to his mouth, is a young man, dressed as a gentle- 
man of the last century. He is looking up, as if interrupted 
while drinking. He wears a suit of green velvet, Nvhite silk 
stockings, buckled shoes, lace cravat and cocked hat. 

Behind him, facing audience, are two young girls, also in 
the dress of the last century. One wears all white, a wreath 
of white roses and a bride's veil. The other is dressed coquet- 
tishly in gay colors. The bride holds up a bottle in one hand, 
pointing triumphantly to it with her finger. The other girl 
points to the gentleman as if mocking him. 

In the background is seen a church, upon the steps of 
which stands a priest, whileMariners and their wives are 
coming out. 

For the information of those who may not have heard the 



X 



18 TABLEAUX VIVANTS. 

legend, the Well of St. Keyne was endowed by its patron 
saint with the power of giving absolute matrimonial author- 
ity to whichever of the couple drank first of its waters after 
the wedding. The bridegroom has hurried directly from 
church, to win the boon, but the bride has been beforehand 
and secured a bottle of the water, which she has taken to 
the church with he.r. 

The tableau admits of very effective scenery and pretty 
costumes. 

OPEN YOUR, MOUTH AND SHUT YOUR EYES. 

The scene, a farm kitchen. Eight of foreground is a table 
upon which stands a basket heaped with cherries. Beside this 
table, facing audience, is a young girl dressed as a peasant 
girl, who is filling a boy's hat with fruit from a basket. She 
wears a short skirt of striped calico, which shows her feet, 
scarlet stockings and low buckled shoes, a white apron, white 
muslin waist, black silk peaeant bodice, laced with scarlet, 
straw hat with scarlet ribbons, and gay knots of ribbon on 
her apron and bosom. 

Centre of foreground is a young man in a picturesque 
country dress, striped calico shirt, white pants, bright vest 
and straw hat. The young girl is looking into his face and 
laughing. 

Left of foreground, a chair, facing audience, in which is 
seated a boy dressed as a rustic, striped calico shirt, crimson 
vest, corduroy pants and heavy boots. The boy has his mouth 
wide open and his eyes fast shut. The young man standing 
centre holds a bunch of cherries over his own open mouth, 
and is putting a bunch of stems into the boy's mouth. 

Left of background, an old woman, dressed in a dark stuff 
gown, small shawl pinned over her breast, white muslin cap, 
spectacles and mittens, is seated, profile to audience, knitting. 
Her face is turned to the group in foreground, and her ex- 
pression is that of laughing reproof. 

Right of background, a little girl in a chintz dress and white 



THE POLISH EXILES 19 

apron is seated, facing audience, upon a low stool, shelling 
peas. By her side is a basket and a pile of pea-pods, while 
on her lap is a bowl. She also looks at group in foreground, 
and is evidently enjoying the joke at the boy's expense. 

THE POLISH EXILES. 

In this scene no furniture is required, but the background 
must be dark and sombre, to show the costumes of the group, 
standing centre of stage, facing audience. 

The group consists of an old man and two young girls. 

The old man stands centre, his head erect, and his eyes 
raised to heaven. His right hand grasps the hand of the 
girl at his right, who stands partly back, her head resting 
upon his shoulder, her left hand under her cheek. His left 
arm encircles the waist of the other girl, who stands a little 
forward, her left arm round his neck, her face buried on his 
bosom. 

The old man has white hair and a long white beard, and 
is bareheaded. His trousers, made tight, are of a dull yellow, 
and boots of black shining leather, trimmed with fur and 
gold spurred, reach above the knee. His coat is of scarlet, 
laced with gold, and he wears over the right arm a short 
cloak of black velvet, edged with sable. 

The girl at the right wears a dress of white satin, embroid- 
ered with gold, a long white merino cloak, bound with ermine, 
a white velvet ermine bound cap, and white satin boots, 
trimmed with ermine. 

The girl at the left wears a short skirt of black satin, with 
rows of green velvet at the bottom ; over this a pelisse of 
green velvet bound with sable, a square Polish cap of green 
velvet, trimmed with gold, green velvet boots, bound with 
sable. 

Handsomely costumed and gracefully grouped, this tableau 
is very effective, and needs only the heavy background to 
throw the group into bold relief. The father seems implor- 
ing aid from Heaven, the daughters in despairing grief. 



20 TABLEAUX VIVANTS. 



OLD AND YOUNG AMERICA. 

The scene is a farin kitchen. Centre of the room is a 
large table, npon which stands a little boy, profile to audi- 
ence. He is dressed in a short white night-dress, bare-leg- 
ged and bare-armed. Upon his head is a soldier cap made 
of newspaper, and in one hand is a toy musket. The child 
must be as young as can be kept motionless, pretty and well 
formed, with a merry, bright face. Facing him, standing 
erect, is and old man, as venerable as white hair and beard 
will make him, dressed in the full Continental uniform of 
the Eevolution, buff and blue. He is holding a musket at 
" order arms," and one hand is raised in salute ; the attitude 
erect and very stiff. The chi]d must stand in precisely the 
same attitude, as if being drilled. 

Left of background, facing audience is a youngf woman, 
dressed in a neat chintz, linen collar and white apron, who 
holds some sewing in her lap, but is looking at the child 
with a proud but sad air, as if memory was recalling some 
sorrowful thought. 

Right of background is an open door, and just entering 
this, is .a soldier, young and handsome, and wearing the full 
uniform of a lieutenant of the present day, His sword is 
buckled to his side, and in one hand he carries a carpet bag, 
as if just coming home. None of the others perceive him. 
His attitude is that of one just springing over the door-sill, 
but arrested by the sight of the group in the foreground. His 
hand is raised to dash away a tear, while he looks proudly 
at the little descendant of the soldierly father and grandfa- 
ther. 

THE POST-MISTRESS. 

The scene is a humbly-furnished parlor. To the left of 
foreground is a table with a gay cover, and upon this table 
sealed letters, newspapers and packages are piled. Beside it 
lies the empty mail-bag. 



CHARITY. 21 

Behind this table, facing audience, is seated the post- 
mistress, dressed in a 'dark stuff gown, plaid shawl pinned 
over her breast, white muslin cap, and spectacles. She is 
looking up to the figure centre of foreground, and holds one 
forefinger over her lips as if to enjoin secrecy. 

Centre of foreground, profile to audience, is a very tall, 
thin woman, dressed in a short, scant stuff gown, white 
shawl, and sun-bonnet. (If a tall, lanky, ugly boy can be 
persuaded to take this part, he will make it very effective ; 
the writer has seen it so performed. ) She stands on tiptoe, 
and is holding up a letter, which she is trying to read by 
pressing it apart at the edges. The letter must be folded 
after the old fashion, and without envelope. The address, 
towards audience, must be that of a young lady. 

Between the post-mistress and central figure is a short, 
fat woman, dressed in brown chintz, white apron and sun- 
bonnet, who is trying to reach up to the tall woman's hand, 
and pull the letter down to the level of her own eyes. 

Centre of background, just entering the door, is a young 
lady, dressed in white muslin dress and mantle, straw hat, 
trimmed with blue, and black lace mittens. She is spring- 
ing forward with outstretched hand, to save her letter from 
the curioui trio, her face expressing angry surprise. 

The women in the foreground do not perceive her, the 
central one having her lips parted as if reading the contents 
of the letter aloud to the other two. 

CHARITY. 

The scene is a parlor. Centre of foreground is an old 
beggar man, with a crutch, dressed in ragged and dirty uni- 
form. One leg is tied up with bandages, and held bent at 
the knee, as if from a wound. One arm holds his crutch, 
while he holds his hat extended in the other hand. He 
stands profile to audience. 

Itight of foreground, a lady stands, facing audience, with 
a child in her arms. The lady wears a rich morning dress, 



22 . TABLEAUX VIVANTS. 

and lace cap. The child is dressed in white. The lady 
looks pityingly at the old beggar, while the child, leaning 
forward, is dropping a coin into his hat. 

HEEL AND TOE. 

The scene is the kitchen of a farm-house. Centre of room, 
facing audience, is a large arm-chair, in which is seated an 
old woman. She is dressed in a black stuff gown, white 
cap and spectacles, small shawl pinned over the breast,- and 
black mittens. She leans forward, both arms round a little 
girl, holding a stocking in front of her, in which are the 
knitting needles. 

The little girl is dressed in a short chintz dress, leather 
boots, white apron, and has a ribbon twisted in her hair. 
She is looking intently at the stocking, which the old lady 
holds, as if shewing her how to place the needles. 

Eight of foreground stands a work basket, with some white 
cloth thrown carelessly over it. 

Left of foreground is a low stool, and lying upon the floor 
beside it a doll. 

CONFISCATED. 

The scene is a parlor, handsomely furnished. Centre of 
room is a table with a work-basket, and some embroidery 
work upon it. Beside the table stands a vacant chair. 

Bight of foreground is a group of doll's playthings upon 
the floor, a cradle, bureau, doll's bonnet and cloak, and near 
all, a child's chair. 

Left of foreground, upon the floor, are a toy musket, drum, 
knapsack, canteen and cartridge-box. 

Centre of foreground, profile to audience, stands a little 
boy, dressed in short white trousers, socks and pumps, a vel- 
vet blouse and linen collar. Upon his head is a soldier's cap. 
In one hand he holds a doll, hanging by the arm, while in 
the other he flourishes a. wooden sword, with which he is 



THE TIFF. 23 

threatening a little girl who stands a few paces froni him, 
facing audience. 

The little girl wears a short white dress, with a broad sash 
and knots of ribbon on the shoulders. She has her fists m 
her eyes, and her face screwed up, as if crying bitterly. 

THE PINCH OP SNUFF. 

The scene is a parlor. Seated centre of room, facing audi- 
ence, in a large arm-chair, is a very old gentleman. He wears 
dressing gown and slippers, and his feet rest on a foot-stool. 
Eeside the chair stands a cane. The old gentleman is lean- 
ing forward, his elbows on his knees, his hands holding, one 
an open snuff-box, the other the lid. Eight of the old gen- 
tleman, profile to audience, is a little boy, whose hands are 
raised, and his face screwed up as if just about to sneeze. 

The contrast in age should be as great as possible. The 
old gentleman looks roguishly at the boy. 

Left of foreground, profile to audience, a lady in a rich 
morning dress is seated, with a piece of sewing in her hands. 
She is looking at the child, and laughing heartily at the effect 
of his curiosity. 

At her feet is seated a little girl nursing a doll. She is 
pointing to the boy, and seems to be laughing heartily. 

THE TIFF. 

The scene is the kitchen of a farm-house. Centre of room, 
seated upon the table, profile to audience, facing left, is a 
young man in the dress of a farmer's boy, mending a shovel. 
In one hand he holds up a hammer, in the other the nail 
Which he seems just about to strike. He wears corduroy 
trousers, a striped calico shirt, scarlet waistcoat, straw hat, 
heavy shoes, and long leather gaiters buttoned up to the 
knee. His lips are stuck out {is if to whistle, but he looks over 
his shoulder anxiously at his companion. 

Beside the table, pro-file to audience, facing right, is a 



24 TABLEAUX VIVANTS. 

young girl, dressed in a chintz dress, white apron, stout 
leather boots and a sun-bonnet, which hangs round her neck 
by the strings. She is staring forward, biting the nail of her 
finger, and looking very sulky. 

WHO IS THE TALLEST ? 

The scene is the ldtchen of a farm-house. Centre of stage, 
facing audience, is a large arm-chair, in which is seated an 
old woman. Standing in front of her, profile to audience, 
and back to back, are a little boy and girl, measuring heights. 
The little girl is standing very demurely looking down, but 
the boy, with a face full of mischief, is standing upon tip-toe. 
The old woman is dressed in black silk, white tap and specta- 
cles. She has one hand upon the head of each of the chil- 
dren. 

Eight of foreground, kneeling down and looking at the 
boy's feet, is a little girl, who points to the trick, and seems 
to be just exclaiming over her discovery. 

SITTING FOE, A PICTXJEE. 

The scene is a painter's studio. Eight and left of back- 
ground are statues, paintings hanging and leaning against 
the walls, cloaks, shawls, foils and masks heaped in pictur- 
esque confusion. 

Centre of room, facing audience, is a large arm-chair upon 
a raised platform. Upon this chair is seated a young girl, 
who is dressed in the powdered wig, hooped-skirts and point- 
ed waist of the last century. (Any other picturesque dress 
will do as well.) She is sitting very stiffly, her hands crossed 
upon her lap, her eyes looking straight forward. 

Left of foreground, another young lady, in a -handsome 
walking dress of the present day, is seated, profile to audi- 
ence. She is mocking the stiff attitude and laughing heart- 

Eight of foreground stands a painter's easel, with a picture 



CUPID CONQUERING MARS. 25 

upon it, but arranged so that the audience cannot see the 
face. Standing before this, proiile to audience, is the painter, 
holding in one hand a palette, and in the other a brush. 

He is dressed in a loose black velvet coa/fc, white linen pants, 
white shirt, with a Byron collar, and loose necktie, and black 
velvet lounging cap, from which the hair falls in loosely curl- 
ing locks. 

He is looking at the young lady, centre of room, with a 
despairing expression and imploring gesture, as if asking her 
to assume a more natural position. 

The central figure may be costumed as a shepherdess, in 
the Louis Quatorze style, as some mythological god.dess, in 
fact in any picturesque costume that the wardrobe of the 
performer will admit. The stirrer the attitude, and the moro 
vacant the expression, the better. 

CUPID CONQUEKIrTG MAES. 

The scene is a parlor. Centre of foreground is a sofa, 
facing audience. Eight of foreground, facing the sofa is 
an embroidery frame, with a piece of work stretched over 
it. Left of foreground is a small table, upon which are ly- 
ing a general's dress hat, a sword, sash, belt and pair of 
gloves. 

Upon the sofa are seated a young lady and an old gentle- 
man. 

The gentleman wears the full dress uniform of an Ameri- 
can Major-General of the present day. He has a large, 
heavy moustache, a stern face, and if a scar can be painted 
on the face, the effect is better. In one hand he is holding 
up a worsted needle, in the other a piece of colored zephyr. 
Upon his lap is a dainty little work basket, full of bright 
colored silks and worsteds. The needle must be the largest 
that can be procured, and the eye of it must be broken. 
The gentleman's face is very earnest, and his eyes fixed in- 
tently upon the needle. 

The young lady is dressed in white, with blue ribbons in 



26 TABLEAUX VIVANTS. 

her hair. She is holding out one hand for the needle, but 
the other hand falls over the arm of the sofa. Her face is 
turned toward the general, full of merry mischief. 

Kneeling beside the sofa, out of the general's sight, and 
raising the lady's hand to his lips, is a young gentleman, in 
the full dress uniform of a lieutenant in the United States 
Army. He is half hidden by the back of the sofa, and 
peeping round it. 

At the other end of the foreground, seated profile to au- 
dience, is an elderly lady, sewing. She looks complacently 
on the general, but does not see the lieutenant, nor the trick 
of the broken needle. 

IS HE NOT A TEASE ? 

The scene is a farm kitchen, with the table spread for tea. 
Eight of foreground, profile to audience, is seated a young 
girl, with a sleeping baby in her- arms. She is dressed in a 
bright chintz dress, white apron, and white muslin kerchief 
pinned over her breast. She is leaning forward, one hand 
outstretched. 

Centre of foreground is a boy, dressed as a farmer's lad, 
who laughingly holds a sealed letter just out of reach of 
the young girl's fingers. 

THE DANCING LESSON. 

The scene is a parlor, with the furniture set back, so as to 
leave a clear space in the centre. Bight of centre, profile 
to audience, is a man in black silk tights, black suit, and 
pumps. He is holding a violin under his chin, with one 
hand, and the bow across it with the other. His right foot 
is put forward, the toe resting on the ground, the heel 
raised, in a dancing position. Facing him is a young lady 
in a handsome silk dress, with jewels on her arms and neck. 
She is holding up her skirts with both hands, showing her 
feet, in black kid slippers, in precisely the same position ns 
those of the dancing master. 



THE LATEST FROM THE FRONT. 27 

Left of foreground., profile to audience, is a tiny little girl 
dressed in white, who holds up her dress, and has her feet 
in the same position as the other two. 

Eight of background, just entering the room, is an Irish 
girl, in a chintz dress and large gingham apron, heavy- 
leather boots and woolen stockings. She faces audience, 
and has her mouth set in a broad grin. Her hands hold up 
her skirts, and her feet are in the same position as those of 
her mistress. 

The two central figures must look perfectly serious, while 
the other two are laughing, but all three of the females 
must be in exactly the same attitude. 

THE LATEST FROM THE FRONT. 

The scene is the kitchen of a farm-house. Centre of 
room, facing audience, is an arm-chair, in which is seated 
an old farmer. He is dressed in a homespun suit, flannel 
shirt, and heavy shoes. He le?ms forward upon a cane, one 
hand raised behind his ear, listening intently. 

Eight of foreground a lad of about fourteen is seated 
upon a low stool, with an open newspaper in his hands. He 
sits profile to audience, and appears to be reading aloud. 

Left of foreground, an old woman is seated, profile to 
audience, leaning forward as if listening. She has let her 
knitting fall to the floor, and her hands are clasped together 
and raised, her eyes looking upward as if in despairing- 
prayer. 

Left of background, a young girl in the plain dress of a 
farmer's daughter, has just fallen upon a chair, as if in a 
fainting fit, her head drooping, and her hands falling nerve- 
less at her side. 

Eight of background, another girl, younger then first, is 
standing facing audience, apron raised to her eyes, as if 
weeping bitterly. 

The old man's face expresses perplexity, as if doubtful of 
his own hearing, but deep grief must be upon all the others. 



28 TABLEAUX VIVANTS. 

The little reader holds the paper in one hand, but the 
other is pressed against his throat, as if so keep down the 
sobs. 

In the centre of the room, beside the old man's chair, the 
dinner is standing upon a table, the chairs pushed back from 
it, the piled up plates untouched, as if the paper had arrived 
just as the family were about to dine. 

THE BASHFUL LOVEES. 

The scene is the kitchen of a farm-house. Centre of room, 
facing audience, is standing a young man, in a farmer's 
dress. He is holding a bouquet in one hand, and looking 
bashfully at his companion, as if afraid to offer his gift. 

A few feet from him, also facing audience, looking down, 
and twisting the corner of her apron, is a young girl in a 
pretty country dress. 

EORY O'MORE AND KATHLEEN BAWK 

The scene is the kitchen of a farm-house. Centre of stage 
is a low stool, facing audience, and upon this is ' seated a 
young Irish girl, while seated on the floor at her feet is her 
lover. His arm encircles her waist, his hand holds hers, 
and he is leaning forward for a kiss, while she coquettishly 
holds back just out of his reach. 

The whole effect of this tableau will depend upon the 
costumes. 

Rory wears blue breeches, long blue woolen stockings, 
fastened with ribbon garters, low buckled shoes, a scarlet 
waistcoat, white shirt and black necktie. On the ground? 
beside him are his hat and a stout walking stick. 

Kathleen wears white stockings, low black shoes, laced 
with scarlet, a short skirt of brown stuff, white muslin bod- 
ice, black peasant waist, laced with scarlet, a scarlet ribbon 
in her hair, and a dark brown cloak just falling off one 



HUBERT AND PRINCE ARTHUR. 29 

shoulder. Her broad straw hat, trimmed with scarlet rib- 
bon, hangs upon one arm by its strings. 

Both should be in the ruddy, fresh Irish style of beauty. 

This tableau is exceedingly pretty when children are the 
performers. 

.HUBEET AND PEINCE AETHUR. 

Shakespeare, King John — Act IV., Scene I. 

THE scene is a prison, with a heavy dark background. 
Left of foreground is a brazier full of live coals, into which 
are thrust two bars of iron. Centre of stage, facing audi- 
ence, Hubert is kneeling, his right hand holding the hand of 
the little Prince, his left hand resting upon his hair. 

Hubert's dress is of dark purple woolen stuff, trimmed 
with bands of broad black velvet. It hangs in long loose 
folds around him, fastened at the waist by a broad black 
belt. 

Prince Arthur, who stands profile to audience, is dressed 
in a tight jacket of crimson velvet, long white silk stock- 
ings, and crimson velvet breeches. Over his dress is a long 
loose coat of white merino, embroidered in gold, which falls 
almost to his feet. His collar is of gold lace, his slippers of 
crimson velvet, with white satin rosettes. 

The moment chosen for the tableau is that when Hubert 
relents from his purpose of destroying Arthur's eyes with 
red hot irons, at the lines : 

M Well, see lo live ; I will not touch thine eyes 
For all the treasure that thine uncle owes." 



30 LETTERS ON TABLEAUX, 



LETTERS ON TABLEAUX. 

The following letters, published in Godey's Lady's Book, 
having been found useful to those arranging tableaux, are 
introduced here in their original form, as they were written 
from actual tableaux, which the writer had seen performed. 
The moving tableaux are novel, and admit of such infinite 
variety that they can scarcely fail to be popular : 

LETTEE I. -TABLEAU VI Y ANTS. 

Dear : Here I come with the promised letter to you 

about our city pleasures this winter. I am staying with my 
Uncle Walter this season, and have a number of cousins 
about my own age around me, making it one of the pleas- 
antest visits I have ever made. First on the list of cousins 
stands Grace, my especial pet and companion, a tiny blonde, 
pretty as a picture, and full of life and fun. "We make an 
odd contrast, Susy, when we stand together before the long 
mirrors. My black hair and swarthy complexion suffer from 
a comparison with her clusters of golden hair and clear white 
skin, while her little graceful figure looks more petite and 
child-like than ever beside my tall form. Walter and Har- 
vey, older than Grace, and more like myself in appearance, 
are twins, and our constant escorts and champions. Then 
come Hattie and Mary, not yet released from school, pretty 
girls of eighteen and sixteen, looking very much alike, with 
brown hair and large blue eyes. Minnie, Grace's counter- 
part, just nine, and Eddie, the baby, two years old, complete 
the home circle.- Aunt Harriet is the most indulgent of 
mothers, and Uncle Walter liberal and hospitable ; so we 
young folks have carte blanche for all sorts of amusement. 

You requested me to send you special accounts of our va- 
rious ways of passing the evenings this winter, in order that 



THE BLEEDING NUN. 31 

you might arrange your parties in the country with some 
pleasant varieties ; so, if I give you too detailed an account 
of our doings, you must forgive the error, and remember it 
was your own request. 

Last Thursday evening, we had a tableaux party, and a 
very pleasant one it was. In addition to the home party, 
our performers numbered several friends, to .whom I shall 
introduce you a& they come into the pictures. 

Our parlors are double, with folding doors, and in the 
space for these doors we fitted our frame. It was made of 
wood, covered first with yellow paper-muslin, and then with 
yellow tarletan, large rosettes of the tarletan placed all 
round, about ten inches apart. The curtain was of deep 
crimson, and parted in the middle. It was made very full, 
and fastened to the back of the frame by a long pole. Cur- 
tain-rings were sewed to the top, but a foot on each side was 
made fast, letting the curtain slip back to within a foot of 
the edge of the frame, and then, being looped back, it made 
a very pretty and effective foreground for the picture behind 
the frame. A dark brown curtain, made very full, fell for 
a background, throwing out the colors worn by the perfor- 
mers most beautifully. For ghostly scenes, a fine blue gauze 
curtain fell from the frame, but could be removed, if not 
required for the picture. A coarse black lace was tacked to 
the frame, being drawn tightly, and through this all the 
pictures were seen. 

The first scene was 

THE BLEEDING NUN. 

You may not know the legend, so I will tell you. Eay- 
mond and Agnes are lovers, but she is commanded by her 
father to take the veil, so they plan an elopement. There is 
a tradition in the castle of a similar case, where the maiden 
commits a murder, and then passes at midnight from the 
castle, in her robes of novice, and bearing a bloody dagger 
and lamp. Once in five years, the castle-gates are left open 
for the spirit of the bleeding nun to pass through. Agnes, 



32 LETTERS ON TABLEAUX. 

to elope with Raymond, agrees to personate the spectre ; but, 
the legend runs, he mistakes the sprite for his lady-love, and 
elopes with the actual bleeding nun. We chose for our tab- 
leau the moment when the spectre is greeted by Raymond. 

Hattie took the part of the bleeding nun. She wore a 
white dress falling in loose, full folds to her feet; over that, 
a white veil completely concealing her features and falling 
below her waist. Large stains of blood on the front of the 
dress and on the veil. In her right hand she held a bloody 
dagger, and in her left a lamp. Her face was turned to- 
ward Raymond, and with the dagger pointed forward, as if 
inviting him to follow. She stood in the centre of the fore- 
ground. Raymond (Cousin W alter) wore a large Spanish 
cloak and black felt hat with a drooping feather ; he stood 
to the left of the foreground, leaning forward, one arm ex- 
tended as if to embrace the spectre. In the background, in 
an attitude of horror, her veil thrown back, her face pallid, 
and eyes fixed on the spectre, Mary, the Agnes of the tab- 
leau, stood, her hands clasped, and form bent slighty for- 
ward ; at her feet lay the lamp and dagger, as if they had 
just fallen. Her dress was precisely similar to Hattie's, the 
veil thrown aside showed her masses of brown curls fall- 
ing loose on her shoulders. The attitude and expression of 
horror at the sight of Raymond following the spectre were 
perfect. 

The second tableau was quite a contrast to the first one, 
but very pretty. All the performers were children. The 
scene was from Cinderella — 

LIFTING THE VEIL. . 

The room was arranged for the ball scene, and we had 
about a dozen children in various attitudes for guests. Min- 
nie was dressed for Cinderella, in a white dress brocaded 
with gold, worn over a blue satin petticoat ; a light wreath 
of pale blue flowers was twisted in with her curls, and over 
all was thrown a thin white illusion veil. She stood in the 
centre of the foreground. Beside her, just raising the veil, 



THE SORCERESS. 33 

was Harry Hastings, a handsome boy, some twelve years old, 
who personated the Prince ; his dress was crimson and gold, 
with full trousers fastened at the knee, long white silk 
stockings, a short cloak falling over the left arm, and a light 
crown. The two sisters, one in purple brocade, the other in 
yellow, stood near the Prince, looking on to see the beauty 
beneath the veil. . In the background, a tiny blonde, some 
five years old, personated the fairy god-mother : she wore 
white guaze spangled, little wings, a crown of small stars, 
and carried a tiny wand. We stood her upon a marble pedes- 
tal, and she seemed just waving her wand over the Prince 
and her pet god-child. 
The next tableau was 

THE SORCERESS. 

The scene required the stage to be divided in two parts, 
and our arrangements had been made behind the brown cur- 
tain. A large table, covered with dark green cloth, stood 
there, and a frame smaller than the one in the foreground 
rested upon it. The brown curtain was drawn back just to 
clear this frame. 

Seated on a throne made of a large easy-chair raised upon 
a platform and draped with crimson, placed to the left of 
foreground, was the sorceress, your humble servant, ap- 
pointed to the office in virtue of her gipsey-like complexion 
and hair. I wore a white cashmere dress, with cabalistic 
figures embroidered on the hem ; the sleeves were made very 
full, with similar figures on the seam and hem. A girdle of 
crimson, with gold stars, and a short crimson cape, also 
studded with stars, fastened the robe at the waist and on 
the shoulders. A gold chain fell over the breast, with a 
curious ornament — cut from gold paper, Susy — suspended 
from it. My hair fell loose, slightly curled, and on my head 
I wore a crimson velvet cap, with a star of diamonds di- 
rectly over the forehead. An antique lamp stood on the 
marble pedestal beside me. In one hand I held a scroll of 
paper, and in the other a wand. Harvey, in a full suit of 



34 LETTERS ON TABLEAUX. 

armor, with a white cloak, bearing upon the shoulder the 
crimson cross of the Crusaders, knelt before me, his profile 
to the audience, looking toward the scene in the background, 
to which I pointed with my wand. This scene, upon the 
table I mentioned above, was seen through blue gauze, which 
gave it a fine effect. A white background made the scene 
in the small frame a tent. Extended upon the ground, dy- 
ing, his cloak thrown off, his breast-plate beside him, and 
his armor open, showing the linen stained with blood, lay 
what seemed the same figure as knelt before me. It was 
Walter, Harvey's twin brother, and the resemblance was 
perfect ; but the same effect can be produced, Susy, by mak- 
ing the two dresses alike, and placing the kneeling figure 
with his back to the audience. The dying man in the frame 
extended his arms towards Grace, who turned away from 
him, to give her hand to another knight, who stood in 
the attitude of conqueror, with a bloody sword in his hand. 
Grace wore a simple white dress, with a veil thrown back. 
The next picture was 

GRANDMOTHER'S 'TRUNK. 

Here, the scene was full of funny contrasts, and we had 
twelve performers on the stage at once. In the centre of 
the background stood a large, old-fashioned black trunk, 
open ; dresses were thrown carelessly over the sides and 
upon the cover, and the performers were each trying on some 
article supposed to have come from the old trunk. Harvey, 
standing erect in the background, leaning on his sword, 
wore the full uniform of the American soldier of 1776, buff 
and blue, and splendidly handsome he looked. Grace, with 
her bright golden curls half hiding her saucy, smiling face, 
was dressed in a short-waisted, long-trained purple brocade, 
a cloak of black silk falling off her shoulders, and a bonnet, 
seventy years old — a veritable piece of antiquity, Susy. You 
cannot fancy anything prettier than her piquant little face 
and figure, shaded, half hidden, by the loose dress and deep 
bonnet. W alter, in his every-day dress, sported a mob-cap, 



THE DYING BRIGAND. 35 

a pair of round-eyed spectacles, and a short gown of bright 
chintz. Hattie had a cocked hat, a long red cloak worn over 
an every-day merino, and carried a large gold-headed cane. 
Mary had found a deep hood, in which she buried her 
pretty face, and from her waist trailed a long silk train. I 
wont still farther back in my dress, and wore a powdered 
wig, large hoops, and high-heeled shoes. The dress, of rich 
dark green satin, embroidered in gold, was made with long 
points front and back, and the skirt looped at the waist, 
over a white satin - petticoat. Fanny Jarvis, a little merry 
brunette, had a full female costume of the Revolutionary 
days, the dress of a farmer's daughter, or one of middling 
station of life. A striped chintz skirt was looped over a 
blue stuff petticoat ; clocked stockings and heeled shoes 
buckled in front were revealed by the short skirt ; a white 
kerchief was crossed primly over the neck and pinned at 
the waist ; long mittens covered the arms, and a chintz hand- 
kerchief was tied over the black curls and fastened under 
the chin. Her brother Morris wore a black velvet suit of 
the same period, with white ruffled shirt and wristbands, 1 
and a three-cornered hat: Graham Leslie, "Walter's intimate 
friend, wore the dandy dress of some forty years ago, and 
his sister was arrayed in a short gored skirt, prunella shoes, 
deep bonnet, and short waist of the same period. Little 
Eddie, who was persuaded to stand, held by Walter, on the 
marble pedestal, had over his white dress, an old-fashioned 
waistcoat of yellow satin, and on his long dark curls was 
placed a cap with deep, stiff ruffles. Minnie, the last on the 
list, stood near Harvey, in a swallow-tailed coat, over her 
white dress, and a white felt hat, some thirty years old. 
There were figures enough to fill the stage without being 
crowded, and the picture was very effective. 
The next one was 

THE DYING BRIGAND. 

Walter, whose black hair and heavy moustache, dark 
complexion and large black eyes made a capital Italian face, 



36 LETTERS ON TABLEAUX. 

personated the brigand. A full suit of green velvet — breeches 
with white stockings and gay garters, a short jacket, and 
peaked hat — made a good costume. He lay extended in the 
centre of foreground, his face well floured, his jacket open, 
displaying a bloody shirt ; one hand clutched a pistol, the 
other pressed a handkerchief to his breast ; his head was sup- 
ported upon my knee. My dress consisted of a short, full 
crimson skirt, a white muslin bodice very full, with a corsage 
of black velvet laced over it, a white muslin flat cap falling 
on the neck behind. Kneeling beside "Walter, I supported 
his head. Morris Jarvis and Graham Leslie — one in the 
scarlet jacket, buff pantaloons, and high boots of a postilion, 
with a whip and little scarlet cap ; the other in a courier's 
dress of buff and green embroidered with gold — stood near 
us. In the background were a group of travellers in modern 
dress — Grace in a gray travelling dress, fainting in Harvey's 
arms, Aunt Harriet and Mary comforting each other, and 
Uncle William looking ruefully at the brigand, holding in • 
one hand the pistol supposed to have ended poor Walter's 
mortal career. 

Our next tableau was 

SECOND SIGHT. 

Morris Jarvis personated the Scotch seer. He made up 
as an old man very well, wearing the full Highland costume. 
He was seated on a low stool, to the left of the foreground, 
his head leaning on his hand, looking intently at the scene 
in the background. On a bed of skins at his feet, Mary, in 
a white dress, with a plaid thrown over her, lay asleep. Wal- 
ter, also in full Highland dress, stood near Morris, his hand 
upon his shoulder, as if trying to rouse him, while Graham 
Leslie, to the right of the picture, lay asleep upon a couch. 
In the background, grouped on table mentioned before, but 
without the frame, were the three young figures of the fore- 
ground group. Harriet, who looks very much like Mary, 
stood erect, the centre of the group, in regal robes — a crown, 
purple mantle, and rich white satin dress. To the left, Har- 



THE TRIAL OF CONSTANCE DE BEVERLY. 37 

vey, in a beggar's rags, knelt at Harriet's feet, as if in peti- 
tion. To the right, wrapped in a monk's robe, with the 
hood drawn over his face, Harry Marston, another friend of 
Walter's, seemed pointing threateningly to Harvey, as if 
warning Harriet not to heed his prayer. The scene was 
effective, and each guest was at liberty to weave his own 
romance on the picture before him. 
The last picture of the evening was 

THE INTERCEPTED LETTER. 

Aunt Harriet consented to personate the " stern parient," 
as Harvey said, and, in black silk, with a neat white cap, 
looked quite fierce. She occupied a rocking-chair to the 
right of background, while in the centre of foreground 
Grace, in a white dress„looking sweetly pretty, stood with 
her hand out to take the letter. Hervey, behind Aunt 
Harriet's chair, leans forward with the letter, holding it out, 
his eyes fixed on Grace, while Aunt Harriet holds the other 
end of the letter, her finger raised threateningly at Grace, 
who, in a pretty attitude of entreaty, tries to take the billet- 
doux. 

MOVING TABLEAUX. 

Dear Susy: I am going to-day to give you a description 
of a party Aunt Harriet allowed us to give last evening in 
honor of the birthday of Walter and Harvey, my twin 
cousins. The character of the entertainment was invented 
by Gracie's fertile brain, and was much applauded by the 
audience. 

Suppose now the company assembled. The stage was ar- 
ranged as I described in my first letter, and at eight o'clock 
the performance commenced. 

The first scene was from " Marmion." 

THE TRIAL OF CONSTANCE DE BEVERLY. 

The curtain rising slowly showed the stage, which was in 
a shadowy half light. A screen of gray cloth was drawn 



38 LETTERS ON TABLEAUX. 

across the background, reaching from the floor to the ceiling, 
and from one side of the scene to the other. In the centre 
of the background was a table, behind which were seated 
the " heads of convents three." 

Mary personated the gentle abbess of St. Hilda, wearing 
a black serge dress, white veil and head-dress, and a large 
rosary falling from her belt. I* similarly attired, was the 
prioress of Tynemouth ; and Walter, with a white beard, 
long white hair, and a monk's dress, took the character of 
Saint Cuthbert's abbot. An antique lamp was suspended 
above the table, throwing a full light upon a scroll of paper 
and a skull and cross which were placed on it. Gracie stood 
in the centre of the picture, her profile toward the audience. 
A full, long cloak of white merino fell loosely from her 
shoulders to her feet, her hair Avas thrown back from her 
face, and swept in long curls down over her neck, arms, and 
shoulders, and her cap lay on the floor at her feet. Except- 
ing the doublet and the " badge of blue," her cloak hid her 
dress entirely. Crouching to the left of the foreground, 
Harvey, dressed as a monk, personated Constance's cowardly 
accomplice. On each side of the three judges in the back- 
ground, stood two executioners, wearing the gray monk's 
dress, and each holding a torch. Black muslin, cut round 
at the top, and basted to the gray screen, made a good im- 
itation of the niches in the wall, and at the feet of the ex- 
ecutioners lay their tools, and a plate of food, and pitcher 
of water. 

As the curtain rose, Morris, who was concealed behind 
the frame, began to read the description of the scene, begin- 
ning at the fifth line, twenty-seventh verse, second canto of 
Scott's " Marmion." He read well, in a clear, deep voice, 
and every word was heard distinctly, and not a motion was 
made by the performers in the tableau until the line, 

" And now the blind old abbot rose; " 

here Walter stood up, and, as the next two verses were read, 



THE CORSAIR. 39 

he and Gracie acted their parts in dumb show, until Gracie 
burst forth with her defence — 

" I speak not to implore your grace," etc. 

I never imagined she could give the force and pathos she 
infused into the lines ; but, as the last line fell on the ear, the 
audience gave her a round of applause. Morris again read 
the description, and then the three judges rose. Walter 
pronounced the doom, and, as he spoke 

lt Sister, let thy sorrows cease; 
Sinful brother, part in peace ! " 

the executioners advanced. Two dragged Harvey to the 
left hand niche, and he fell upon his knees before it, bend- 
ing forward, his face to the executioners. Two came, one 
on each side of Gracie. Slowly she stepped backwards, her 
cloak still gathered round her, till she stood before the niche 
facing the audience, an executioner on each side, of her ; 
then she raised one hand and her eyes, and as she pointed 
upward the curtain slowly fell. 

The next scene was from the "Corsair," canto first, verse 
fourteenth. The curtain drawing up disclosed Hattie, seated 
on a pile of cushions, with a guitar in her hand. The ac- 
companiment to the song was played on the piano-forte, out 
of sight ; but Hattie " went through the motions " on her in- 
strument. She wore a short skirt of white silk, embroided 
in scarlet, and a pair of full white silk trousers, gathered in 
a band at the ankle ; her vest was of blue, and her jacket of 
scarlet, worked with gold ; her cap of scarlet, worked in 
gold also. She did not braid her hair, but the soft, full 
curls did not look amiss. Her pretty little feet were covered 
with slippers to match the jacket and cap. As the curtain 
rose, she began to sing, in her clear, sweet voice, Medora's 
song, 

" Deep in my soul that tender secret dwells. " 

As the last note died away, Harvey entered. He had 
worn his dress in the preceding scene, under the monk's 



40 LETTERS ON TABLEAUX. 

robes, so "he was ready in time. The rich corsair dress was 
very becoming to his dark style of beauty, and made a splen- 
didly handsome Conrad. 

Omitting the two lines after the song, he greeted Hattie, 

as he entered — 

"My own Medora ! — " 

then throwing himself at her feet, he continued — 

" Sure, thy song is sad." 

Hattie answered in the exact words of Byron, and they re- 
cited and acted the conversation between Conrad and Me- 
dora till the "Adieu;" then, "as she clung to him, he bent 
proudly over her, and slowly the curtain fell upon them. 

Well read and well acted, the scene was very effective, 
and our audience gave token of approbation in the usual 
noisy style. The next scene was 

THE FRIARS OF ORDERS GRAY. 

You remember it, don't you, Susy, the poem by Thomas 
Percy ? As you may have forgotten it, I refer you to Percy. 
Mary took the part of the lady-love and Morris personated 
the friar. Mary wore a simple white dress, and over it an 
old-fashioned black cloak with a hood; Morris wore a gray 
dress and cowL 

The stage was partly darkened, and, as the curtain rose, 
Morris was discovered pacing slowly up and down, telling 
his beads. Mary entered from behind, and as she met Mor- 
ris, he gave a slight start of recognition, drew his cowl closer, 
and the scene began at the second verse — 

" Now, Christ thee save, thou reverend friar, 
I pray thee tell to me 
If ever at yon holy shrine 
My true love thou didst see." 

From this point the poem is all dialogue, and as they threw 
a great deal of life into the acting (Mary's grief was touch- 
ing), the scene passed off very well until the curtain fell 
upon the last verse — 



JOAN OF ARC'S TRIAL. 41 

"Now farewell, grief, and welcome joy, 
Once more unto my heart; 
For, since I have found thee, lovely youth, 
We never more will part." 
One more scene closed the evening's performance, for 
these scenes take a longer time to act than to write out for 
you, Susy, and four are as many as are wanted in an evening ; 
they are tedious, if you give too many of them. 
The last was . 

JOAN OF ARC'S TRIAL. 

I found the poem in an annual. It was written by Albert 
Taylor. I will send you the words, for it made a very good 
one for such a purpose as this. 

The stage was arranged as a court, and the judges sat to 
the right, while your humble servant, as Joan of Arc, stood 
facing the judge, her profile to the audience. I wore a tunic 
of imitation mail, falling to the knees, and, with my head 
Uncovered, my hair falling in the greatest confusion all over 
my shoulders, and my hands chained together, I made quite 
a respectable Joan. 

Morris, hidden, read the description, and at the condem- 
nation "Walter, the judge, rose slowly, and, altering the poem 
a little, spoke my doom. I recited the defence and the 
prayer for a soldier's death ; and at the words, " A stir and 
rise," the judges and court rose slowly, and passed out, 
leaving me standing alone. The poem goes on with a de- 
scription of the execution ; but, as I have an objection to 
being burned at the stake, we stopped at the last line of the 
copy I send you. When left alone, I knelt down, facing the 
audience, my hands crossed on my breast, and my eyes raised 
like, Morris said, " a duck in a thunder storm," and the cur- 
tain fell. 

The poem was as follows : 

JOAN OF ARC. 
BY ALBERT TAYLOR. 

" Within the hall of judgment bound, 
With ruthless foes girt darkly round, 



42 LETTERS ON TABLEAUX. 

Deserted, left to bigot laws, 

Without one friend to plead her cause. 

With hair dishevell'd, pallid face, 

On every wasted limb the trace 

Of suffering long, and want, and woe, 

Stood Joan of Arc. You scarce could know, 

Beneath the ragged vest 
That clad so poorly that bright form, 
Once robed in terror, like the storm, 

There beat a living breast ! 
So still she stood, so steadfast gazed, 
, With fixed look and head upraised, 
As though her thoughts had flown 
Back to the guileless days of yore, 
And saw, in yearning fancy saw, 
Her father's cot, each peaceful scene, 
The hanging wood, the village green, 

And heard each sister's tone ; 
For in her eye grew slow a tear, 
Quiver'd her lip, but not in fear ; 
For undismayed she heard at last 
The deadly, cruel sentence pass'd 

That gave her to the flame 
As witch and sorceress." 
In our version, Susy, "Walter rose at the word " fear," say- 
ing— 

" Finding thee guilty of the crimes assigned, 
We do condemn thee, Joan, to the flame 
A witch and sorc'ress." 
Then Morris read again from the original, while I acted 
my part in dumb show. 

" Ha ! now! now! 
Uprose the spirit on her brow, 

And back the color came. 
With form erect, fire-flashing eyes, 
Such as she wore at battle-cry, 
And arm outstretch' d, and voice whose rush 
Came sudden on the solemn hush 
High as trumpet swell — " 



JOAN OF ARC'S TRIAL. 43 

Here I came in, Susy — 

"By that great God, I swear, whose will 
Upheld, and will uphold me still, 

The charge is false as hell ! 
No. witch am I. And thou, thou 
Bright Virgin pure, in pity now 

Look down on thy poor child ! 
Desert not in this hour of need! 
Thou know'st still, in thought and deed, 

This young heart undenTd ! 
make my innocence appear ! 
The only shield that's left me here 

To face my dastard foes. 
And on them now I turn my face, 
Flushing with scorn, but not disgrace ; 

I hurl that back on those 
Who call dear France their fatherland, 
And stand, unblushing, hand in hand, 
Link'd with the foreign wolves, whose prey 
This woman's arm hath torn away, 

And hear unmovd the name 
Before the which their proudest paled, 
Their far-fam'd iron legions quailed, 

All slurr'd with guilt and shame ! 
Ay ! gaze on me, on all that's left 
Of one of light and air bereft 
So long, and safely gaze ! this hand 
No longer wields its battle brand ; 

It wears this heavy chain ! 
This woman's arm you've conquered now, 
But not the spirit on her brow ; 

That spirit doth remain 
Unconquerable still, to send 
Its high defiance to the end. 
And, would you know the Power that taught 
This peasant arm, this peasant thought, 

Do thou, Lord Bishop, tell, 
When battling for a country's right 
And sacred laws, whence came the might, 



44 LETTERS ON TABLEAUX. 

From heaven or from hell, 
That overthrew her foes, and crown'd 
Her lawful monarch 1 And, though bound 
With heavy chains, condemn'd to death, 
I answer with my latest breath. 

I was the chosen one 
Of that High God who stays the wave 
To stay my country's foes, and save 

That country ; and 'tis done ! 
'Tis done ! and humbly I lay down 
The sword, to take the martyr's crown ! 
You've torn the honor from my crest, 
And planted shame there ! take the rest — 

This young and weary life ! 
Oh ! flame sears not in fiercest mood 
Like slander, and ingratitude 

Cuts sharper than the knife ! 
Not here, not here ! beyond yon dome 
Of heaven, in Truth's eternal home, 

When ruthless ye have trod 
This soul from out its maiden shrine, 
I'll lay this injured cause of mine 

Before the throne of God ! 
And think not that your steel or stake 
Shall make this spirit quail or break ; 

Your power I defy ! 
For He who gave this arm its power, 
And nerved it in the battle hour, 

Will nerve this heart to die ! 
And, though I go down darkly now, 
With shame upon my maiden brow, 
So deadly wronged, so all-forsaken, 
The time will come, and truth awaken, 
Another, nobler age will tell 

Poor Joan of Orleans' tale ; 
How false her doom, how true she fell 

In country's cause, and hail 
Her memory as a beacon light, 
The battle-cry in freedom's fight, 



JOAN OF ARC'S TRIAL. 45 

And clear her injur'd name ; 
Without reproach, will on it write ; 
On yours, Eternal shame ! " 

The next three lines were omitted — 

" She paused, while from her lofty brow 
The flush of maiden scorn pal'd slow ; 
Then, in a tone more meek and low — " 

I began, after a short pause here— 

" And yet, but that I feel 'twere vain 
From cruelty one hope to gain, 
A simple boon I still would crave ; 
A soldier's death, a humble grave, 
Dug 'neath the forest lone and wild, 
Where once I rov'd a happy child, t 

To fancy that each spring 
The grass that waves o'er this poor breast 
By sister's hands with flowers be dressed, 
And round it wild birds sing." 

Here Morris read again— 

" She ceased ; there was a trembling sound 
Upon her voice, and all around 
She sadly gazed ; a hush profound 
A moment was, and then 
A stir and rise." 

Then as the judges passed slowly out, he read — 

" God ! for there 
Was not one heart to urge that prayer, 
Amidst those iron men." 

I would suggest to you, if you have an entertainment of 
this kind, to have a full-dress rehearsal, that none of the 
little details may be wrong. 

If well read and acted, these scenes are very effective and 
entertaining, but poorly rendered they are very wearisome. 



46 PROVERBS IN TABLEAUX. 



PEOVERBS IN TABLEAUX. 

Proverbs in Tableaux form a most entertaining variation 
upon the established form of pictures, as they call upon the 
audience not only for their admiration of effect, but also for 
the exercise of their ingenuity in guessing what proverb or 
saying the scene before them is intended to represent. 

The company when acting proverbs should be divided, 
one portion performing while the others act as audience. 
At the end of each tableau let the audience name the pro- 
verb. If correctly guessed, audience and performers change 
places. , If not, the performers give the answer and keep 
their places until one of their proverbs is guessed correctly. 

Charades in Tableaux must also be guessed by the audi- 
ence as soon as the curtain falls upon the whole word. 

IT IS WELL TO HAVE TWO STKINGS TO YOXTE BOW. 

This tableau can be arranged only where the stage can 
represent an out-door scene. In the centre of background, 
facing audience, stands a target, with an arrow in it, near, 
but not exactly striking the centre. Trees, flowers, and 
rustic benches, are on both sides of the scene, leaving the 
centre space open. To the right and left are grouped ladies 
and gentlemen in archery dresses, the gentlemen wearing 
suits of Lincoln green, the ladies white with decorations of 
green, round straw hats with green streamers. All carry 
bows, and quivers filled with arrows. In the centre of fore- 
ground are the three performers, a lady and two gentlemen, 
who form the principal group. The lady is holding a bow, 
the string of which has just snapped, and is hanging loose. 
One of /the gentlemen leaning forward, is condoling with 
her, but the other holds up triumphantly a long piece of 
new cord. The lady reaches m out her hand for the cord, 
smiling upon the giver. 



A STITCH IN TIME SAVES NIKE. 47 



BETTER HALF A LOAF THAN NO BREAD. 

The sceno represents the kitchen of a farm-house. The 
farmer's wife stands near a table, moulding butter into pats ; 
one daughter is counting eggs into a basket, the other stands 
with half a loaf of bread in her hand, pointing to the door, 
the third one shows her mother a whole loaf, but the mother 
seems to be pointing out a closet to her, while she is sending 
the half loaf to the beggar at the door. The beggar should 
hold an empty basket open, and have two little children 
clinging to her skirts. Let the farmer's wife and daughters 
wear neat chintz dresses, cut short enough to show stout 
shoes and clocked stockings ; the mother wears a white cap, 
the daughters, three-cornered handkerchiefs pinned under 
the chin. The beggar's dress, and that of the children, 
should be as torn and ragged as possible, and the children, 
bare-headed and barefoot. 

A STITCH IN TIME SAVES NINE. 

The scene, a parlor or sitting-room. Near a work-table 
in the centre of stage, a lady is seated, sewing. Two little 
boys at right, are playing marbles, a little girl left, is nurs- 
ing a doll. At the lady's feet a little girl is seated, mend- 
ing a very small hole in her apron. Another little girl, just 
passing the work-table, has caught her apron in the knob 
of the drawer, and torn a long rent. The lady, pointing to 
the little girl, sewing, seems reminding the other one of the 
proverb. 

Another tableau upon the same proverb may represent 
the boudoir of a lady of fashion, with toilet-table, upon 
which jewelry, flowers and ribbons are scattered. A young 
lady in full evening dress, stands centre of room; kneeling 
at her feet, a lady's maid, catching together a small rent in 
a lace flounce. Upon a chair is a dress, with a long tear 
across one breadth, to which the lady points while the maid 
seems to be reminding her of the proverb. 



48 PROVERBS IN TABLEAUX. 



WAKING UP THE WRONG PASSENGER. 

Let the chairs be placed in two rows down the centre of 
stage like the seats on each side of a railway car. The stage 
must be darkened, the seats filled with people, all of whom 
are asleep but one. A very humorous tableau may be made 
in the variety of costume and attitude, amongst the sleep- 
ers. In the seat nearest the audience is the only passenger 
awake, who appears to be in a great rage, and scolding furi- 
ously at the conductor. In one hand he holds a ticket and 
points to the word Melville ; at the end of the row of seats, 
have a placard placed with Holmesburg painted upon it, 
put against the wall. The conductor, who carries a lantern, 
and throws the light full upon the ticket, seems to be apol- 
ogizing for his mistake. It adds to the effect, to have one 
or two passengers just waking up, and looking angrily at 
the two who are quarrelling. 

HUNGER IS THE BEST SAUCE. 

The scene, a hotel dining-room, with the table set for 
four persons. Two sit facing the audience, and one at each 
end, profile to audience. They are all gentlemen. Three 
of the party are dressed in the extreme of fashion, and have 
a languid, blase look. Their plates are covered with choice 
food, and stand before them. One holds up a tiny morsel 
upon his fork, but turns from it, as if disgusted ; the second 
is pouring gravy into his plate, but looks as if its appear- 
ance did not please him ; the third holds a wing of a bird 
in his hand, and is daintily picking off a small piece. with 
his fork. The fourth one, facing audience, wears the full 
costume of a hunter, and should be a tall, finely formed man, 
with a ruddy, healthly face. His plate has nothing upon it 
but a large slice of beef, and some potatoes, but he appears 
to be eating voraciously. The others look at him with lan- 
guid wonder, while he seems inviting them to share his re- 
past. To the right of the foreground, upon the floor, lie 



THREE MAKE A CROWD. 49 

the gun, shot-bag and a bunch of game ; if a dog can be 
kept still, it adds very much to the effect to place one beside 
the hunter's property. To the left of foreground stands a 
smaller table, upon which are placed the hats, canes and 
gloves of the three dandies. 

DOG IN THE MANGEE. 

Ik the centre of stage is a table piled with cake, fruit, pies 
and other eatables. In front of the table, facing audience, 
is an immensely fat boy (stuffing the clothes will produce 
this effect)' with red cheeks, in the act of vainly endeavor- 
ing to swallow a mouthful of a cake he holds in his hand. 
He is dressed in a suit of velvet, richly embroidered, and 
upon the floor near him lie some expensive toys and games, 
a pile of sugar-plums, and some money. To the left of stage, 
standing hand in hand, are a little boy and girl, dressed in 
very ragged clothes, with thin faces and sad eyes, holding 
out their hands pitifully to the young glutton, and looking 
at the profusion on the table. The boy at centre holds up 
a large cane threateningly,* while he frowns angrily at the 
little beggars. 

TWO AEE COMPANY; THEEE MAKE A CEOWD. 

The stage has two sofas, one to the right, and one to the 
left of centre. In the centre of the stage, a small table. 
A lady and gentleman, young, are seated at this table, with 
a game of chess before them. They are conversing very 
intently, the lady's hand resting in that of the gentleman, 
while the other hand of each holds a chessman, as if the 
game was delayed, not finished. Upon the sofa to the right, 
another couple, lady and gentleman, with an open book be- 
fore them, are also conversing earnestly, looking into each 
other's eyes, evidently forgetting the rest of the company. 
Upon the sofa at left of stage, are seated another couple, 
and between them an old lady, knitting. All these are 



50 PROVERBS IN TABLEAUX. 

looking forward blankly, as if they had not a word to say. 
Upon the back of the sofa, behind the old lady's head, the 
young folks have clasped hands. At the back of stage, 
just entering the room, are two young ladies, and one gen- 
tleman, all looking cross and uncomfortable, as if there was 
one too many in the party. 

THE GRAY MAEE IS THE BETTEE HOESE. 

The scene represents the kitchen of a farm-house. The 
farmer, just entering the door, is followed by a beggar man, 
whom he holds by the hand, and at whom he looks very 
sorrowfully. The farmer's wife, just turning from a v/ ell- 
spread tea-table, is pointing threateningly to the door, as if 
ordering the beggar to depart. She looks angry and deter- 
mined. The farmer looking cowed and afraid, seems to be 
telling the beggar that he must go. The beggar is turning 
sorrowfully away. 

ALL IS M)T GOLD THAT GLITTEES. 

The scene should be a pawnbroker's office. A table stands 
centre of stage. Seated at the table, facing audience, is an 
old man, with a long white beard, dressed in a suit of brown 
cloth, rather old and seedy. Upon his head is a black velvet 
skull-cap. He holds in one hand a long gold chain that is 
very bright, except in one place, where there is a long green 
stain ; in the other hand he holds a vial of acid, with the 
cork out. He is holding the chain up, to point out to the 
would-be seller that the acid proves it brass. The customer 
is a lady in deep mourning, who stands by the table, profile 
to audience. She carries in her hand an open jewel-box, in 
which are some more jewels. Upon the table, in front of 
the old man, are a number of articles of jewelry, each hav- 
ing upon it the same green stain as the chain. The lady 
looks despairingly into the box, from which she takes a brace- 
let, while the old man's face expresses triumph. A little 



A BIRD IN HAND IS WORTH TWO IN THE BUSH. 51 

green water color will produce the effect of acid upon jew- 
elry, but can be easily washed off. 

WHEN POVERTY COMES IN AT THE DOOE, LOVE 
FLIES OUT AT THE WINDOW. 

The scene must be a richly-furnished but disorderly room. 
The husband at the breakfast-table, in his dressing-gown and 
slippers, the wife in a richly trimmed morning dress with a 
breakfast cap on. Both are pouting. The lady points to a 
long milliner's bill which she holds in one hand, the gentle- 
man shows an empty pocket-book. Coming in at the door 
is a figure dressed to represent Poverty ; an old man, leaning 
upon a cane, dressed in ragged clothes, with a long white 
beard. He holds out his hat, as if begging. Upon the win- 
dow sill, in an attitude as if just about to fly, have a little 
child, dressed as a Cupid. He looks at the figure in the door- 
way as if frightened by it. 

A BIED IN HAND IS WORTH TWO IN THE BUSH. 

The . prettiest scene is a garden, but if the properties do 
not extend to out-of-door views, flower stands in a parlor 
make a very pretty scene. In the centre of stage stands a 
table, upon this a bird cage, with a bird in it. A little girl 
stands behind the table facing audience; she holds up a 
lump of sugar to the bars of the cage, and appears to be 
coaxing the bird to eat it. To the left of foreground is a 
large stand covered with flowers in pots. Upon one bush 
is a stuffed bird, with out-stretched wings, as if just flying 
away. A little boy carrying in one hand a box marked 
" salt," is advancing on tip-toe behind the bird, one hand 
reached out, with the forefinger and thumb closed, as if 
holding a pinch of salt, to deposit on the bird's tail. To 
the right of foreground is a large chair, and upon the back 
of it is another stuffed bird, apparently just ready to soar 
upwards. Behind this bird is a little girl, who holds up her 



52 PROVERBS IN TABLEAUX. 

apron, just ready to throw over it. Both children pursuing 
the birds should look vexed at their escape, while the little 
girl feeding the one in the cage, looks perfectly contented 
with her prize. 

A NEW BEOOM SWEEPS CLEAN. 

The scene is a parlor, with two servants putting it in 
order. The furniture is in confusion, as if pushed out into 
the centre of room for convenience in sweeping. One ser- 
vant, young and smartly dressed, at right of stage, has a 
new broom, and behind it is a very clean space on the carpet, 
while, a pile of dust lies before it. The girl appears to be 
working very actively and good-naturedly. At left of stage 
is an old woman with a worn-out old broom, that she is 
lazily dragging over the carpet, without any effect. The mis- 
tress of the house, standing centre of stage, seems to be 
reproving the old servant, and pointing to the young one, 
as if for example, but the old servant points to the new 
broom, and looks at the old one, as if reminding her mis- 
tress of the proverb. 

'TIS AN ILL WIND THAT BLOWS NOBODY GOOD. 

The stage is arranged as a market scene. All the performers 
should be children, the variety in costume and occupation of 
the miniature market people producing a very pretty effect. 
Five market stalls, two at each side, and one in the centre of 
background, are quite enough. The arrangement of these 
stalls is very simple, but by grouping and contrasting colors 
tastefully, the effect can be made very beautiful. Poultry, 
feathered game, greens, fruits, vegetables, radishes, and a 
profusion of flowers are requisite. These can all be imita- 
ted ; the fowls in pasteboard, and the vegetables and flowers 
in tissue paper, and the fruit in wax or plaster. On the stall, 
at centre of background, are flowers and fruits only, arranged 
in pots, bouquets and baskets. A little girl stands before 



'tis an ill wind that blows nobody good. 53 

this stall ; she wears a short, gay petticoat, looped over this 
is a skirt of dark woolen, with a bodice of the same, trimmed 
with black velvet, an under-waist of white muslin, a straw 
hat with long gay ribbons ; she is offering a bouquet to a 
boy in a dandified officer's dress, with a sword buckled to his 
side. The stall left of background has upon it poultry, but- 
ter, sausages, and other country produce. A little boy in a 
pair of corduroy pants, dark coat and felt hat, made country 
fashion, is holding up a pair of fowls to show to another lad, 
dressed as a negro servant, and carrying a large basket, al- 
raady half filled with provisions. The stall right of back- 
ground is arranged for a vegetable woman. Here are tissue 
paper cabbages lying in bright contrast to paper radishes and 
carrots, and large bushel baskets show their wealth of wooden 
potatoes and plaster eggs. Before this stall is seated a little 
girl, in a dark stuff gown, knit mittens, and Dutch cap, busily 
engaged in knitting. The stall at left of foreground is a 
butcher's, and has lordly rounds of beef, of red and yellow 
paper-covered wood, with paper -mutton and wooden veal 
hanging from the hooks. The little boy in attendance upon 
this stall wears a long white apron, and is tapping with a 
large piece of meat, which he offers to a little girl, in the 
quiet gray dress and plain bonnet of a lady marketer. The 
principal stall, upon which the proverb depends, is to the 
right of foreground. It is that of an old apple woman, and 
is overturned. Apples, cakes, nuts and candies lie around it 
upon the ground. A little girl, dressed as an old market 
woman, with a calico gown, kerchief pinned over the breast, 
spectacles, cap and mittens, stands beside the upset stall. She 
is holding up both hands in consternation. Five or six little 
ragged children are seizing the fruit and cakes. Two on their 
knees, are fighting for a large apple, one is running off with 
both hands full, one filling his pockets, one just coming up, 
and one cramming his mouth full. 

If the tableau described is found too expensive or trouble- 
some to arrange, the proverb may be illustrated by the apple- 
woman's stall alone, with the saucy boys proving the proverb. 



54 PliOVERBS IN TABLEAUX. 

Another illustration of the proverb inay be arranged as 
follows : 

A lady, dressed in the height of the fashion, stands in the 
centre of room, with a handsome bonnet in her hand. A 
milliner's girl, holding a bandbox, stands at right of fore- 
ground, and seems to- be apologizing for some defect. The 
servant of the house is at the left of foreground, and the lady 
is giving her the bonnet. The lady's face expresses perfect 
disgust, that of the milliner's girl regret, and that of the ser- 
vant perfect delight. Just entering the door is the husband, 
who holds up both hands in consternation at his wife's ex- 
travagance. 

Another illustration may be arranged thus : 

A handsomely-dressed boy has a basket before him, from 
which he is selecting an apple. Two little chimney sweeps 
stand beside him, grinning with pleasure, and with both 
hands filled with the apples he has rejected. 

YOU CANNOT PUT AN OLD HEAD ON YOUNG 
SHOULDEES. 

The scene represents a parlor. In the centre of the stage 
stand two chairs facing audience. Upon one of these chairs 
stands a little girl, dressed in a white muslin dress, panta- 
lettes and slippers. Upon the other chair stands a little 
boy who wears short white trousers, a blouse, socks and 
pumps. Both children must be as young as can be persuaded 
to stand still. To the right of the little girl stands an older 
girl, who is tying the strings of a cap under the little one's 
chin. The cap must be that of an old woman, with a broad 
frill round the face, and large bows of sober ribbon. The 
little girl has on a pair of large old-fashioned spectacles. Be- 
hind the chair stands another girl who holds over the little 
one's head a large old-fashioned straw bonnet, trimmed 
with gay ribbons, and immense bunches of flowers. She 
holds this just over the cap, so as to form a frame for the 
child's face, but seems waiting for the cap strings to be tied 



EMPTY VESSELS MAKE GREAT l^OISE. 55 

before putting it on. The little boy already wears a pair 
of spectacles, a gray wig, and cocked hat, and stands very 
erect, as if conscious of increased dignity. A larger boy be- 
side him is offering a cane and snuff-box. To the left of 
foreground the mother is seated at a sewing table ; she looks 
up at the children, but smiles as if reminding them of the 
proverb. 

COUNT NOT YOUR CHICKENS BEFORE THEY ARE 
HATCHED. 

A yehy pretty tableau may be made of the fable of the 
milkmaid who counted her chickens before she sold her pail 
of milk. The scene had better be a farm kitchen. The 
milkmaid wears a calico dress looped over a gay petticoat, 
low shoes with heels, and clocked stockings ; a bodice of 
black velvet or scarlet silk, laced over a white muslin waist ; 
a cap of white muslin, trimmed with bright ribbons. She 
' stands in the centre of stage, facing audience, looking in 
dismay at her pail of milk lying upset at her feet. The pail 
is full of cotton-wool pulled very light, or a long strip of 
paper lying on the floor for a trail of spilt milk, will have 
the same effect. 

EMPTY VESSELS MAKE GREAT NOISE. 

The scene is a schoolroom. Upon a bench, centre of stage, 
stands a fat, stupid looking boy, who is haranguing the 
others with a very important face and gesture. Upon the 
other benches are seated a number of boys mocking and 
laughing at the orator. One points to his head in derision, 
another yawns, another imitates the gesture and another 
laughs heartily. To left of foreground a boy holds up a 
large empty copper pot, and a stick, as if in the act of strik- 
ing it, while his face expresses triumph ; to the right of fore- 
ground, another boy is striking a similar pot full of water, 
but his face expresses disappointment. The boy with the 



56 PROVERBS IN TABLEAUX. 

empty vessel seems to be striking lightly and easily, while 
the other seems throwing all his strength into the blow. 

FORBIDDEN FRUIT TASTES SWEET. 

The scene is a dining-room. In the centre of background 
is a large side-board, open, displaying upon its shelves fruit- 
cakes, bottles of wine, tumblers of jelly, jars of preserved 
fruit, and other eatables. Two little boys are seated in cen- 
tre of foreground with a basket of apples before them, from 
which they have filled their pockets, which are stuffed out 
with the fruit. Each holds an apple with a large piece bit- 
ten out, and they are looking at each other as if expressing 
their pleasure at the taste of the fruit. Just entering the 
door is the servant girl, who looks aghast at the boys and 
the open side-board. 

THEEE IS NO ROSE WITHOUT A THORN. 

The scene is a parlor, In the centre of foreground, seated 
on the floor, are two little girls arranging flowers. Flowers 
are scattered on the floor beside them, and they have their 
laps filled with them. They are dressed in white, and wear 
wreathes and knots of flowers on their bosoms. Between 
them is a fancy basket half filled with roses. One of the 
little girls is looking at the basket, and holds a flower, as if 
hesitating where to place it ; the other holds in one hand a 
red rose, but holds up the other hand to show a long red 
scratch made upon it with a thorn. In the centre of stage 
stands a table, upon which ribbons, baskets, wreaths, and 
loose flowers are tossed in careless, graceful profusion. Be- 
hind this table, facing audience, stands a boy, who is cutting 
the thorns off the stem of a white rose, with his penknife, be- 
fore offering it to a little girl, who stands beside him with 
hand outstretched for the flower. To the right of background 
stand a young gentleman and lady, in polka attitude. 
They appear to be conversing earnestly and lovingly ; the 



THEY ARE CHIPS FROM THE OLD BLOCK. 57 

gentleman is placing a ring upon the lady's finger, while his 
eyes look — all sorts of things. 

Behind this couple, entirely unperceived by either the 
lady or the gentleman, is an elderly gentleman in gray wig 
and spectacles. He wears his overcoat and hat, as if he had 
just come in from the street. He looks furiously angry and 
raises his cane over the shoulders of the young gentleman. 
At the left of background stands a chair, upon which is a 
large earthen jar marked "Nuts." A little boy standing 
beside the chair is vainly trying to draw his hand through 
the mouth of the jar, while he looks round to see if his lar- 
ceny and unpleasant predicament are discovered. 

THEY AEE CHIPS FROM THE OLD BLOCK. 

The stage is arranged as a lady's dressing room. In the 
centre, facing left, is a toilet, with a large mirror upon it. 
Upon this table stands a handsome pincushion, with shawl- 
pins, breast-pins, belt-pins and common pins in it. Beside 
the pincushion stands an open jewel-box, with chains, rings, 
bracelets, and jewelled hair-pins scattered around it. On 
the same table are lying a bouquet, ball-book, embroidered 
handkerchief, fan, and pair of lady's white kid gloves. 
Scarfs, wreaths, knots of ribbon, tastefully contrasting in 
color, are also lying upon the table, or hanging from the 
frame of the mirror. Chairs stand in the room, covered 
with drapery. One has an opera cloak and hood upon it ; 
another a handsome silk dress, with a shawl thrown care- 
lessly over it ; a third a rich morning wrapper and embroid- 
ered skirt. Facing the mirror, profile to audience, stands a 
lady in full evening dress. She is looking at her own re- 
flection with an air of satisfied vanity ; one hand arranges 
a flower in her head-dress, while the other sweeps back the 
folds of her dress. To the left of foreground stands a chair, 
tied to which is a small toy mirror. Before this glass is 
standing a little girl. She wears a white muslin dress, over 
which she has tied a scarf, like a sash, and on her head she 



58 PROVERBS IN TABLEAUX. 

lias placed one of her mamma's head-dresses. With exactly 
the same expression and attitude, as the older lady, she is 
arranging her wreath and pushing back the folds of her 
short dress. Centre of background is a door. Entering the 
room, by this door, are the father, and a lad of about fifteen 
or sixteen in full evening dress, the height of the prevailing 
fashion, white kid gloves, and curled hair. Each carries 
an opera-hat. The father carefully adjusts his pet curl, 
with his right hand, and the son adjusts his in precisely the 
same attitude. Both must be dressed handsomely, and the 
costumes must be exactly alike, while the disparity in age 
and stature must be as great as possible. Both have a self- 
satisfied smirk, and carry themselves with a self-important 
air. To the right of foreground stand the valet and lady's 
maid, half hidden from the family" by the mirror on toilet 
table. The valet is pointing to the father and son, and 
whispering to the maid, with an^air of derision, while she, 
laughing heartily, points to the mother and daughter, as if 
still further illustrating the proverb. 

LISTENEKS HEAE NO GOOD OF THEMSELVES. 

The scene is a parlor. In the centre of foreground are 
seated two young ladies, handsomely dressed, who are con- 
versing very earnestly, and with much gesture. To the left 
of foreground is a closet, from the half-open door of which 
an old woman is peeping out, and shaking her fist at the 
two girls. 

A FKIEND IK NEED 18 A FRIEND INDEED. 

The scene must represent the extreme of poverty. A 
poor bed is standing centre of stage, as if rudely pulled from 
its place near the wall ; near the door stands a rude table 
with two broken chairs upon it, and on the floor is a broken 
dish and some pieces of bread and meat. A work-basket 
lies upset at right of foreground; the chest of drawers is 



CHARITY BEGINS AT HOME. 59 

pulled from the wall ; the whole scene is to indicate a seiz- 
ure of furniture for rent. In the centre of the room stand 
two constables, who are lifting from an easy chair an old 
woman, who raises her clasped hands as if imploring pity. 
The mother is kneeling at left of foreground, as if praying, 
while her arms encircle a little girl, who is weeping bitterly. 
At right of foreground a gentleman stands, as if he had just 
entered, who holds an open pocket book in his hand, and is 
speaking to another man, the landlord, who shows him a 
bill. The landlord raises his hand to stop the constables, 
who look round at him, for further instructions. A young 
girl, in a mean dress, is looking gratefully at the gentleman 
paying the rent, while a little boy runs towards his mother, 
pointing to their friend, and trying to rouse her attention 
to the good news. 

The more ragged the children that can be crowded in, in 
every attitude of want and distress, the more effective the 
tableau ; and a husband lying drunk in one corner, is also 
very effective. 

CHAEITY BEGI1\ T S AT*HOME. 

The scene is a parlor. A lady dressed in rich material, 
but carelessly, with disordered liair, and shoes down at the 
heel, sits beside a table, portioning out money into different 
envelopes. Some of these envelopes, directed in a largo 
bold hand, are placed so as to be seen by audience. One is 
directed to the " Soldier's Mission," another to " African 
Fund Society," another to " South Sea Mission Fund," an- 
other " Sandwich Island Society." Two dirty, forlorn look- 
ing children, right of foreground are quarrelling over a 
piece of bread. A gentleman, shabbily dressed, sits discon- 
solately at left of foreground, looking over a pile of unre- 
ceipted house bills. The money on the table must be sorted 
into lules, with an envelope upon each pile. Tracts and 
circulars are scattered on the table, and on the floor near it. 
At the door a beggar woman is trying to enter, while the 



60 PROVERBS IN TABLEAUX. 

servant is keeping her out, pointing to the mistress, and 
seeming to say it is useless to beg of her. 

THERE'S MANY A SLIP 'TWIXT CUP AND LIP. 

The scene is a farm kitchen. A large table stands centre 
of stage, and behind this, facing audience, is a young girl 
dressed as a dairy-maid, working butter. In one hand she 
holds a small wooden paddle. Her face is full of mischief. 
Behind her, on tiptoe, is a young man in a farmer's dress, 
his arms extended and his lips set for a kiss ; he is leaning 
forward. The girl holds the paddle so as to show the au- 
dience she means to slip it between her face and her lover's 
when he attempts to kiss her. To the right of foreground 
stands a little boy looking ruefully at a broken cup at his 
feet, from which the milk is pouring out upon the floor. To 
the left of foreground a little girl is raising an apple to her 
mouth, while behind her a big boy is leaning forward, his 
hand open to catch away the fruit before it reaches her 
mouth. 

FAINT HEAET NEYEB WON FAIE LADY. 

The scene is a parlor, and the performers are arranged in 
three groups. To the right of the foreground, a lady in 
full evening dress, is seated upon a sofa. She has just ex- 
tended her hand to a handsomely-dressed officer, who is taking 
it with a confident air, as if pleased, but not surprised. To the 
left of foreground, another lady, also seated, is turning away 
contemptuously from a suitor, who stands embarrassed, 
holding his hat awkwardly, and looking with timid, implor- 
ing eyes at the fair scornful one. In the centre of room, 
a lady, very handsomely dressed, with a gay coquettish air, 
is accepting a ring from a tall dashing looking gentleman, 
who offers it with easy confidence, While just moving away, 
with an air of utter despair, is another shy suitor, looking 
hopelessly at a bouquet he is afraid to offer. 



IN NEVER RAINS BUT IT POURS. 61 



WHEN THE CAT'S AWAY THE MICE WILL PLAY. 

The scene is a young ladies' boarding-school. Centre of 
background is the teacher's desk, upon a raised platform. 
Seated at this, facing audience, is a young girl, who is ring- 
ing a bell, and holding up a ruler as if to enforce silence. 
Nobody pays the least attention to her. The other scholars 
are all grouped in different attitudes for mischief and idle- 
ness. Two at one desk have a doll, and are discussing a 
bonnet for it. Two more are writing a billet, and the di- 
rection on the envelope, " James Lee, Esq.," must be turned 
to audience. Two more are dividing a large cake, with a 
paper-folder. Two more are reading Byron's Poems, the 
book held so that the audience may read the title. Two 
more are at the blackboard, upon which one is drawing a car- 
icature of a very prim looking lady, with a book in one 
hand, and a ruler in the other. Just entering the door, is 
the teacher, unperceived by any of the scholars. Behind 
her is an elderly gentleman, who, laughing Heartily, seems 
reminding her of the proverb. 

IT NEVEB, KAINS BUT IT POUES. 

The scene is an attic, where a poor author sits at a table. 
His ink has upset over his his last sheet of paper, and is 
dripping down upon a clean shirt upon a chair near the 
table. A servant, just entering the door with a tray, has 
dropped the dinner upon the floor, and stands looking at 
the scattered dishes. The landlady stands at the right hand 
of the author, holding out a bill ; a gentleman stands at 
left of author, with another bill ; he is dripping wet, and 
holds a wet umbrella from which the water is lying in a 
puddle directly over a pile of manuscript, on the floor near 
the table. A young girl stands behind the author with his 
coat in her hand, showing him a long tear in the back. The 
author has both hands to his head, his fingers rumbling his 



62 PROVERBS IN TABLEAUX. 

hair, and causing it to to stand on end ; lie looks perfectly 
crazy with the accumulation of misfortune. All the others 
are urging their claims upon him with threatening gestures. 

ONE MAN'S MEAT IS ANOTHER MAN'S POISON. 

The scene is a dining-room. In the centre stands a table, 
upon which is a large dish, with lobster salad, or some other 
showy food upon it. Two plates are set. Before one, facing 
audience, a gentleman is seated, eating, with the greatest 
relish, of the dish, which he also seems urging upon his com- 
panion. The second gentleman turns from the table with 
an expression of the greatest disgust, holding his nose, and 
pushing the plate before him as far away as possible. 

THE MORE THE MERRIER ; THE FEWER THE 
BETTER FARE. 

The scene represents a school-room during recess. To the 
right and left of foreground are desks, and upon each of 
the two desks is a pound cake. To the right, a boy is divid- 
ing the cake, which is cut up into small pieces ; round him 
stand as many boys as the strength of the dramatic force 
will allow ; some of them munching their cake, some wait- 
ing their turn, but all in the highest good humor, and ap- 
pear to be laughing, joking and enjoying themselves very 
much. To the left two boys have divided the other cake 
between them, and are eating it, but look sour and discon- 
tented. 

BETTER BE" AN OLD MAN'S DARLING THAN A 

YOUNG MAN'S SLA YE. 

The scene is a parlor. Right of foreground is a young 
lady seated upon a sofa in a negligent attitude. She is 
dressed very richly, wears jewels, and carries a beautiful fan. 
Kneeling at her feet, holding an open jewel case, in which 



FINE FEATHERS MAKE FINE BIBBS 63 

is a partire of diamonds, is an old man, handsomely dressed, 
but very infirm, He is ■ offering the diamonds with ' an air 
of humble devotion, while he raises one of the lady's hands 
to his lips; slie looks at the jewels with an air of indiffer- 
ence and languor. Left of foreground is a large arm-chair, 
in which a young gentleman is seated. He wears a richly 
embroidered dressing-gown and smoldng-cap, and has his feet 
extended upon a footstool. His expression is that of anger, 
and one hand is raised threateningly to a young lady, 
standing in front of him. She has a waiter in her hand, 
upon which are cigars, a bottle and tumbler, some lemons, 
sugar and spoon. Her dress is very plain, and her eyes red 
as if from crying. She stands in a timid way, her head 
drooping, and eyes cast down, as if terrified at the scolding- 
she is receiving. 

TAKE CAEE OF THE PENCE, AND THE POUNDS 

WILL -TAKE CAEE OF THEMSELVES. 

A GOOD humorous tableau may be made of this proverb. 
The scene is a miserable room, with every mark of poverty 
in its arrangement. Near an open window, centre of back- 
ground, stands a table, before which is seated a miserably 
dressed man. He is old, shabby and iniirm. Upon the table 
is a large pile of pennies, over which the miser is spreading 
out his hands, while flying out of the window, as if just 
caught up by a breeze, are a number of bank notes, with 
£ marked conspicuously against the figures. A very fine 
thread attached to the paper notes and the window curtain, 
will be invisible to the audience, while it will hold the notes 
up in mid air, as if blowing away. The miser must be 
stretched out over the pennies, looking with dismay at the 
notes. 

FINE FEATHEES MAKE FINE BIEDS. 

The scene represents a handsomely-furnished drawing- 
room. The ladies taking the principal parts must consent 



64 PROVERBS IN TABLEAUX. 

to have their faces made as ugly as paint and crow's feet 
will permit. One standing in centre of room is very tall 
and very thin, with a red nose, gray hair, crow's feet and 
wrinkles on her face. She wears an extremely handsome 
dress, cut with low neck and short sleeves, in the height of 
the prevailing fashion, and very richly trimmed ; a head- 
dress of flowers, and a profusion of jewelry complete the 
costume. She is standing, with an air of silly affectation, 
listening to a gentleman, who appears struck with admira- 
tion at her appearance. The other lady, short and fat, has 
a broad red face, vulgar and wrinkled. She is also extrava- 
gantly dressed, but seated profile to audience, at left of fore- 
ground. A gentleman is leaning over the chair, and raises 
her hand to his lips, but turns away his face to conceal a 
smile of derision. 

IT IS DANGEROUS PLAYING WITH EDGE-TOOLS. 

The scene is a carpenter's shop. Centre of stage is a 
bench upon which are carpenter's tools. A little boy is 
standing centre of foreground, profile to audience, holding 
in one hand a chisel, and the other hand raised displaying 
a long cut. One foot is lifted as if in pain, and the face ex- 
presses agony. 



INNOCENT. 65 

CHARADES IN TABLEAUX. 
INNOCENT. 

TABLEAU' I. — INN. 

The scene is the drawing room of an inn. At the table 
are seated travellers in every variety of travelling costume, 
all appearing to be eating hastily. The door is centre of 
background, and standing open shows the sign swinging 
against the door-post. Just entering the door, is the driver 
of the stage-coach, his horn in one hand, and his whip in the 
other, announcing that he is ready to start. Near the 
table, as if waiting upon the guests, stands the landlord, 
in his white apron, the landlady, and their daughter, who is 
coquettishly dressed, and is listening smilingly to one of the 
gentleman travellers, who seem to be complimenting her. 
Standing at left of foreground, and scowling angrily at the 
pretty daughter of the house, is a young man in a rustic 
dress. 

TABLEAU 11. — NO. 

Scene is a parlor, handsomely furnished. To the right of 
foreground is seated an old lady, to the left an old gentle- 
man. Kneeling before the old lady is a young girl, with 
clasped hands, who seems to be praying for some boon. 
Standing before the old gentleman is a young man, who 
points to the kneeling girl, and seems to be pleading for her. 
Both the old people turn away from the young suppliants, 
with their lips set as if saying no. 

TABLEAU III.— CENT, 

The scene is a parlor richly furnished ; in the centre of 
the room, stands a very small child, dressed as a beggar. 
She is stooping, and has just picked up from the floor a cent, 



66 CHARADES IN TABLEAUX. 

which she displays to audience, with her whole face beam- 
ing with pleasure. Entering the door, centre of background, 
are a lady and child richly dressed. The child seems start- 
ing forward as if to claim the beggar child's prize, and the 
mother holding her back seems reproving her for her greed- 
iness. 

TABLEAU IY. — INNOCENT. 

The scene is a parlor, with the whole space left in the 
centre. In the centre of foreground is a crimson velvet 
cushion, upon the floor, upon which is placed a sleeping in- 
fant, in long white robes. The light should be very dim, 
and no other figure upon the stage. Low, soft music adds 
very much to the effect of this scene. 

PATCHWOEK. 

TABLEAU I.— PATCH. 

The scene is a parlor, where a number of boys are congre- 
gated. Two, centre of stage, are making a kite ; two, right 
of foreground, are playing chess ; two, left of foreground, 
are examining a bat and ball ; two, left of background, are 
reading ; two, right of background, are playing jack-straws. 
All are nicely dressed, and present the appearance of boys 
in good circumstances. Entering the door is another boy, 
meanly dressed, with a large black patch upon the knee of 
a pair of light pantaloons. He looks ashamed and uneasy. 
All the other boys are looking up from their several employ- 
ments, and each one points with the forefinger of his right 
hand at the patch, while they are all laughing Tieartily. 

TABLEAU II. — WORK. 

The scene is a large workshop, where a whole family are 
carrying on different trades. Centre of room is a large 
table, where the father is seated cross-legged, making a pair 
of pantaloons, while on the table are scattered a tailor's tools. 
Right of centre the mother is making a dress ; left of centre 



SONGSTRESS. 67 

the eldest daughter is trimming a bonnet ; left of foreground 
the son, on a cobbler's bench, is mending a boot ; right o£ 
foreground, another son is mending a chair ; centre of 
background, another daughter is sweeping the room ; while 
entering the door is a little errand boy with a large bundle 
in his hands. Each performer must appear to be intent on 
his or her work. 

TABLEAU III. — PATCHWORK. 

The scene is a poorly-furnished room. Centre of stage 
is a large arm-chair, in which is seated the grandmother. 
She wears a black silk dress, white muslin kerchief pinned 
over the breast, muslin cap and spectacles. At her feet is 
seated a little girl, in a calico dress, and white apron, fitting 
a square upon a long strip of patch-work. The grand- 
mother bends over the child as if superintending the work. 

SONGSTRESS. 

TABLEAUX I.— SONGS. 

The scene represents a fancy fair. Two tables run down 
the sides of the room, and one occupies centre. Centre 
table is covered with fancy articles, and a young lady, dressed 
in white, with a broad blue sash and scarlet ribbons in her 
hair, is acting as saleswoman ; she is offering a sheet of 
music — a song — to a gentleman, who seems about to pur- 
chase it. Left of foreground another table, also- covered 
with fancy articles, is tended by a young lady dressed in 
the national colors, who is selling to a little boy two of the 
penny songs in sheets, holding them so that the audience 
can see the titles. Right of foreground another table, 
tended by a young lady, dressed as the two first, is selling 
to a little girl a "Book of Songs" The saleswomen and 
customers in background may be arranged to suit the taste 
of the performers and strength of the company. 

TABLEAU II. — TRESS. 

The scene is a parlor. Centre of stage is a sofa, drawn 



68 CHARADES IN TABLEAUX. 

up to face audience ; upon the sofa are seated a lady and 
gentleman. The lady is in evening dress, and wears her 
hair in curls. The gentleman, with a curl in one hand and 
a pair of scissors in the other, seems about severing the tress 
of hair, while the lady holds up her hand as if to prevent 
him. A humorous scene may be made of this, by the gen- 
tleman's detaching a set of false Grecian curls, which are 
coming off in his hand, while the lady, in dismay, tries to 
hold them up. 

TABLEAU III. — SONGSTRESS. 

The scene represents a parlor, during an evening party. 
In the centre is a table, round which two ladies and three 
gentlemen fire grouped with pictures and books in their 
hands. Eight of background, a lady and gentleman on a 
sofa are flirting over a bouquet ; left of foreground, two 
gentlemen stand as if conversing ; left of foreground, a 
lady and gentleman are standing as if conversing. Eight 
of foreground, a lady is seated, facing audience, with a gui- 
tar in her hands, while other ladies and gentlemen stand 
around her. Her head is thrown back and her mouth wide 
open, while she holds her breath to give the effect of strain- 
ing for a very high note. All the others in the room are 
looking at her, some faces expressing admiration, some sur- 
prise, and some consternation. Well grouped, this tableau 
is very funny. 

DRAMATIC. 

TABLEAU I. — DRAM. 

The scene is a bar-room. The counter runs across back- 
ground, and behind it stands the landlord, who is pouring 
liquor from a bottle. In front of the bar, profile to audi- 
ence, stands a ragged, dirty looking man, who extends his 
hand for the glass the landlord is filling. Eight of fore- 
ground, two men are seated at a little table, and are touch- 
ing glasses. Left of foreground, four men are seated at a 
table, playing cards. 



SWEETHEART. 69 



TABLEAU II.— ATTIC. 

The scene is an attic, exhibiting the extreme of poverty. 
Centre of stage is a table, at which a shabby-looking man 
is writing busily; right of centre, a poorly-dressed woman 
is sewing upon a shirt ; right of foreground, a ragged girl 
is rocking a broken, miserable cradle, in which lies a sleep- 
ing baby ; left of foreground, a ragged little boy is trying 
to catch together a long rent in his coat. Make the scene 
as poverty-stricken as is possible. 

TABLEAU III.— DRAMATIC 

The scene is the green-room of a theatre, and the per- 
formers must muster in full strength and in every variety 
of costume. Centre of stage, Eichard the Third, in full suit 
of black velvet, with his hump in view, kneels before a 
coquettishly-dressed village girl, who is blackening his eye- 
brows with a hare's foot. Left of background, Lady Mac- 
beth, in long white wrapper, and loosened hair, is accepting 
a bouquet from Tony Lumpkin, who wears leather-colored 
tights and breeches, ^, scarlet vest and white shirt. Eight 
of background, Hamlet in black velvet, is seated on a low 
stool, both ears stopped with his fingers, his eyes fastened 
on an open book upon his knees, and his lips set as if study- 
ing his part. Eight of foreground, two sailors are practis- 
ing a fencing scene. Left of foreground, King Lear is 
whispering something very tender in the ear of Juliet. 
Other performers, all costumed in stage attire, are grouped 
in the scene, according to their own taste. 

SWEETHEAET. 

TABLEAU I. — SWEET. 

The stage is fitted up to represent a pantry, with jars of 
preserved fruit, jams and jellies upon the shelves. Centre of 
stage is a table, upon which stand bowls of sugar, tumblers 
of jelly and a cake. Behind this are two little girls, facing 



70 CHARADES IN TABLEAUX. 

audience, one cutting the cake, the other eating lumps of 
sugar. In front of table, seated on the floor, facing audience, 
is the smallest boy who will sit still, with a large jar, marked 
" Jam," between his knees. One hand is in the jar, the other 
arm embraces it, while he peeps inside, over the edge. Left 
of background, a little boy is pouring from a bottle, marked 
" Sweet Currant "Wine," into a tumbler ; behind him, stand- 
ing upon a chair, is a little girl, who is taking from a high 
shelf a jar, marked " Sweet Pickle." Left of foreground a 
little girl is seated, eating a large piece of pie ; right of fore- 
ground, another little girl is opening a box, marked " Cake." 
All the children face audience. Centre of background, an 
open door, at which stand an elderly lady and gentleman, 
and a young lady and gentleman. The two first hold up 
their hands in horror ; the others are laughing heartily. 

TABLEAU II. — HEART. 

The scene is a parlor on St. Valentine's Day. Centre of 
room is a table, at which is seated a young lady, absorbed in 
a letter, the fancifully decorated envelope lying at her feet. 
Right of background, another young lady, standing upon a 
chair, holds a letter high above her head, while a gentleman 
beside her tries to reach it. Left of background a negro 
waiter is entering carrying a pile of letters upon a salver. 
Right of foreground, a little boy is seated on the floor, writ- 
ing an address upon an envelope, which he holds upon a 
book. The envelope has a large heart in one corner. Left 
of foreground, a little girl holds up, for the others to see, an 
open sheet, with an immense red heart, transfixed with an 
arrow, painted upon it. The words, " St Valentine offers 
you his heart," are written in large characters underneath 
the heart. 

TABLEAU III. — SWEETHEART. 

A garden scene is the prettiest for this tableau, but if 
that is difficult to arrange, a parlor scene will do. The per- 
formers should be children as young* as can be teamed for the 



COURTSHIP. 71 

parts. Two only are on the stage, and stand centre of the 
room. The little girl is dressed in a fanciful peasant's cos- 
tume ; a short scarlet petticoat ; red and blue clocked stock- 
ings ; black slippers, with bows of scarlet ribbon. The dress 
of dark blue woolen is looped to show the petticoat, and 
laced in front to show a white muslin body under its peas- 
ant waist. A pretty straw hat, with a broad brim, is held 
on by a gay handkerchief over it, pinned under the chin. 
She holds a bouquet in one hand, and in the other a single 
flower which she offers to her little lover. The boy is 
dressed as a sailor. Full white pantaloons, black pumps, a 
blue woolen shirt trimmed on the broad collar with white 
stars, and a black necktie tied in a large sailor's knot, form 
his costume. His right arm is round his sweetheart's waist, 
and while his left hand takes the offered flower, he leans for- 
ward to kiss her cheek, which she holds just out of his reach. 
Eight of foreground is a pretty work-basket, with sewing 
and knitting in it. Left of foreground is a sailor's hat, and 
a bundle in a handkerchief, tied to a stick. 


COUETSHIP. 

TABLEAU I. — COURT. 

The scene represents the trial of Effie Deans. Centre of 
background, the judge, in full black silk robes, white wig 
and spectacles, is seated, facing audience, upon a raised 
platform, beside him three other judges dressed as he is. 
In front of the platform a table, at which are seated law- 
yers, in white wigs and loose dresses, writing. A rail runs 
across. Left of foreground, profile to audience, Effie Deans 
is trying to escape from two soldiers, who hold her back 
from rushing to the group at right of foreground. Eight 
of foreground Jennie Deans is bending over the prostrate 
figure of the father, who lies senseless upon the floor. The 
large steel-plate engraving of the trial will be the best 
guide for amateurs in arranging this tableau. If not prac- 
ticable, introduce any scene in a court ; the trial of Pick- 



72 CHARADES IN TABLEAUX. 

wick makes a good scene, if the performers are humorously 
inclined. 

TABLEAU II. — SHIP. 

The scene is a room in a cottage. Centre of room is a 
table, upon which stands the model of a ship, full rigged. 
On one side of the table is seated an old sailor, who is point-* 
ing to the ship, as if explaining it to two boys, who stand 
at the other side of the table, admiring the model. 

TABLEAU III. — COURTSHIP. 

The scene is a parlor. Seated upon a sofa, centre of fore- 
ground, is a lady, old and ugly, but dressed in the extreme 
of youthful fashion, and wearing a profusion of jewelry. 
Kneeling at her feet is a very shabby young gentleman, his 
coat buttoned up to his chin, and his clothes worn and rusty. 
He appears to be making the most vehement declaration of 
love, while the lady looks bashfully away, and holds a fan 
before her face. Centre of background stand a young lady 
and gentleman, as if just entering. The young lady wears 
a garden-hat, and carries some flowers. The gentleman ap- 
pears to be starting forward to interrupt the courtship in 
foreground ; he looks angry ; the lady holds him back, look- 
ing into his face as if coaxing him to good humor. 

KNAPSACK. 

TABLEAU I.— NAP. 

The scene represents the kitchen of a farm-house. Eight 
of foreground is a large arm-chair, in which is seated an old 
woman, profile to audience. She wears a black dress, shawl 
pinned over the bosom, spectacles and white muslin cap. In 
her right hand is a ball of yarn, in her left the thread con- 
necting the ball with the skein. Upon her lap is lying a half 
knit stocking, upon which her hands have fallen, crossed. 
Her head droops forward upon her breast, and her eyes are 
closed. She is an old woman taking a nap while winding 



KNAPSACK- 73 

her yarn. Left of foreground, opposite to and facing the old 
lady, is a little boy in the dress of a country boy. Upon his 
outstretched hands he holds an enormous hank of yarn, and 
looks disconsolately at the idle ball. Centre of background, 
at an open door, are children holding up balls, tops and ap- 
ples to coax the little skein-holder from his post. 

TABLEAU II. — SACK. 

The scene represents a barn. In the background are piled 
up sacks of apples and potatoes, while in the foreground a 
party of mischievous boys are collected. One of them holds 
open the mouth of a large sack of apples ; each of the others 
has secured an apple, excepting one, who is crawling into the 
open sack — he is in, and the boys are grouped to show that 
they mean to tie up the mouth of the sack ; one holds the 
string ready, another leans forward to help the one holding 
the sack open, and all are laughing. In the background the 
farmer is just entering, softly, with a large whip in his hand. 
The boys do not- see him. 

TABLEAU III. — KNAPSACK. 

Here the scene is again the kitchen of a farm-house, where 
the family is engaged in fitting out the volunteer. To the 
right, standing erect, his musket grasped in his right hand, 
his left arm clasping his wife, who is weeping on his breast, 
stands a man in the private's costume of the United States 
Army. His eyes are bent upon his wife, full of love, while 
his attitude and the firm grasp of his gun show his resolve 
to go. Near him, seated on the floor and playing with his 
canteen, is a little girl, while in the centre of foreground, 
upon the floor, is his open knapsack. The old mother, kneel- 
ing beside it, is xoutting in his Bible, the father stands with 
his hands full of stockings, shirts, and other necessaries, while 
to the left, two sisters are gathering from a table the other 
articles to fill the knapsack. Children are very good in this 
tableau, and there is plenty of room for effective dresses. The 
little old man and woman can wear the dress of the last cen- 



74 CHARADES IN TABLEAUX. 

tury, the girls pretty country costumes, and the soldier-boy 
the blue uniform of the present day — or, the whole scene 
may be made to represent an event in the Revolution, with 
the young soldier in full Continental uniform, and the other 
characters in the dress of that day. If the costumes can be 
obtained, the latter is by far the best for effect, and an old 
flag with the thirteen stars may be held by a child in the 
background. Music, as " Hail Columbia," or the " Star 
Spangled Banner," if the performer is concealed, will add 
very much to the effect of the scene. * 

MAY QUEEN. 

TABLEAU I. — MAY. 

Let the furniture be removed from the stage, and the 
background draped with white, looped with garlands of flow- 
ers and leaves ; the floor, covered with white, and flowers 
scattered over it. One single figure represents May. A 
beautiful blond should be selected. Let her wear pure white ; 
the dress long, full, and floating. Her hair should fall free, 
either in curls or waving ripples, and a wreath of delicate 
flowers rest on her head ; flowers should appear to fall all 
about her, in her hair and on her dress (small pins, or a few 
stitches of thread will fasten them) ; her hands are raised, 
her eyes uplifted, as if she were just about to rise and soar 
away. The writer has seen a lovely child so dressed and 
standing, and the tableau was as beautiful as can be im- 
agined. 

TABLEAU" II. — QUEEN. 

The celebrated historical scene of Raleigh spreading his 
cloak for Queen Elizabeth to step upon, makes here a most 
effective tableau. Let the group of attendants, maids of 
honor and courtiers be as large as the wardrobe of the com- 
pany will allow. Queen Bess, in the centre of the stage, 
should be a little girl with red hair. She wears the high ruff, 
small crown, and long train of the famous sovereign ; at her 
feet kneels Raleigh, spreading his velvet cloak before her. 



HAT-BAND. 75 

He wears the courtier's dress of the time. The queen, smil- 
ing, lifts her robe with one hand, and extends the other to 
wave her thanks to the courtier. A full description of the 
scene may be found in Scott's Kenilworth, and the costumes 
should be prepared from pictures of the times. 

TABLEAU III. — MAY QTJEEN". 

Ix the centre of stage is a throne, with an arch of flowers 
above it, and seated upon this is the May queen. She wears 
white, and holds a sceptre of a long-stemmed lily or branch 
of tuberose. At her right, one foot on the upper step of the 
platform of the throne, one on the step lower, is another 
young girl in pink, who holds the crown of roses over the 
May queen's head. Kneeling at the left, before the throne, 
is a third little girl in pale blue, who offers a basket of flow- 
ers. A group of children, boys and girls, in light dresses, 
trimmed with flowers, the boys wearing wreaths on their 
hats, the girls flowers in their hair and on their dresses, are 
standing round the throne, their hands joined and forming 
a circle, as if just dancing round the newly-crowned queen. 

HAT-BAND. 

TABLEAU I. — HAT. 

The scene is a parlor. In the foreground (centre), facing 
the audience, is a very little girl, dressed in white. Long 
yellow curls and blue eyes are the prettiest for effect. She 
is trying on a man's hat, and holding it up from falling down 
on her shoulders, with both hands. Two other children to 
the left are laughing at her, while, to the right, just entering, 
are a lady and gentleman. The former is in a home dress, 
the latter is in street costume, with overcoat and cane, but 
without any hat. The lady holds up her finger to silence the 
laughing children, while the gentleman stoops over the little 
thief, with his arms outstretched to prison her, and his lips 
ready for the kiss she has forfeited. 



76 CHARADES IN TABLEAUX. 



TABLEAU II. — BAND. 

The background has a balcony window in the centre. (A 
very effective one may be made by placing a fender on a large 
table, with two upright posts at each end, placed about two 
feet apart. Drape from these heavy crimson curtains, looped 
up, and put a bar across for the window-frame.) At the 
window are two little girls wrapped in large shawls, as if 
just awakened by the music. In the foreground seven little 
boys represent the serenade band. One blows a penny trum- 
pet, the second has a pair of bone clappers, the third a toy 
drum, the fourth a toy fife, the fifth a tambourine, the sixth 
a toy violin, and the seventh an immense trombone. They 
all carry sheets of music, are wrapped in long cloaks, and 
wear large^ slouch hats. The stage must be darkened, except 
the light given by seven candles, held one behind each per- 
former by his servant, dressed as a negro-valet. These seven 
boys, with black faces and hands, dressed in absurd negro 
costume, must be grinning with delight at their masters' per- 
formance. One of the little girls at the window leans for- 
ward, holding a bouquet over the balcony front, while the 
other points with dismay to a tall figure of a woman, who 
is seen behind the window, holding up a bucket of water to 
deluge the juvenile serenaders. 

TABLEAU III. —HAT-BAND. 

Here the same scene and performers as are in the first 
tableau appear again. The little girl seated on the floor has 
a long garland of flowers, which she is going to wreath round 
the hat. A second little girl is cutting off the hat-band with 
a pair of scissors, while a third holds the hat for the. opera- 
tion. The little one on the floor has her lap full of flowers, 
and holds one end of the garland up in front of the hat to 
try the effect ; the one who holds the hat kneels to her right ; 
and between them, stands, stooping, the one who has the 
scissors. Laughing, in the background* are the lady and 



NEWSBOY. 77 

gentleman mentioned before ; she springing forward to save 
the hat, he holding her back. 

NEWSBOY. 

TABLEAU I. — NEWS. 

The scene represents the kitchen of a farm-house. In the 
centre of the stage is a large old-fashioned chair, in which is 
seated an old man, in the naval or military costume of 1812. 
(Borrow somebody's heirlooms.) To his left is a table, upon 
which stands a jug of ale and a plate of apples. The old 
man's left arm rests upon the table, his hand up to his ear to 
help his hearing ; his right hand rests upon a cane held be- 
tween his knees, and his whole attitude is one of listening. 
To his right, in foreground, is seated a little boy reading 
from a newspaper. To the left, in front of the table, stands 
a little girl, her hands clasped together, looking intently at 
the reader; leaning over the old man, one hancf on the 
back of his chair, one on the table, is a young girl, whose 
face is anxious, and attitude one of painful attention. 
Against the wall, above her head, hangs the portrait of a 
soldier. 

TABLEAU II. — BOY. 

The scene represents a school-room, with an open door to 
the left of background. In the centre of stage is the school- 
master's desk, and one of the boys is seated on the stool 
behind it, holding up a ruler in laughing menace. Part of 
the boys are ranged in front of the desk for recitation ; and 
one poor fellow, with his face tied up, is seated on a stool 
by the master's desk, studying. In the centre of foreground 
is a timid-looking boy — the new hoy — who, with folded hands 
and frightened face, is being victimized. A group of boys 
are around him. One is inking a fierce moustache on his 
upper lip ; another puts a fool's-cap on his head ; a third 
has taken his cap, and is putting a tall feather into it ; a 
fourth is stealing the luncheon out of his satchel ; a fifth 



78 CHARADES IN TABLEAUX. 

draws a caricature of him on a slate ; a sixth points his fin- 
ger and laughs at him, while a seventh, kneeling, is turn- 
ing his toes in. Through the open door in the background, 
the schoolmaster is seen conversing with the new boy's 
mother, who is paying him some money, while the little 
sister peeps round the door-post to see the school-room. 

TABLEAU III. — NEWSBOY. 

Only one figure is required for this ^cene. A boy in the 
ragged dress of a newsboy, with a shabby cap, and toes 
peeping out of his boots, is seated on the floor in the centre 
of foreground. On the floor beside him is a pile of papers, 
and a half-eaten apple ; in the front of him on the floor is 
a pile of pennies, which he is engaged in counting. A boy 
in the dark Italian style of beauty, with black eyes, dressed 
in a red shirt, with colored stockings, and without any 
jacket, makes the best effect. 
I 

HOENPIPE. 

TABLEAU I. — HOBN. 

The scene is a parlor. Centre of room, facing audience, 
stands a large arm-chair, in which is seated an invalid lady. 
She wears a white wrapper, white lace cap, and has a large 
shawl wrapped around her. Her feet are upon a footstool, 
and behind her is a large white pillow. At her right hand 
is a small table upon which are bottles, cups, spoons, an 
orange, tumblers of jelly, and a book. At her left is a chair, 
upon which the doctor is seated ; in one hand he holds the 
lady's wrist, in the other his watch, the invalid's disengaged 
hand is raised to her forehead, as if distracted with noise. 
Both the doctor and the invalid are looking toward right of 
stage. Right of stage, foreground, is a very little boy, with 
short white trousers, bare legs, short socks, pumps, a velvet 
jacket and lace collar, who holds to his mouth, with both 
hands, an immense tin horn. A very small boy and a very 
large horn. The boy's cheeks are puffed out as if blowing, 



BRICKBAT. 79 

and his legs are stretched apart as if strutting into the room. 
Behind him, her arms stretched out to catch him, her face 
expressing dismay, is a woman in the white cap, white 
apron, and bright dress of a French nurse. 

TABLEAU II.— PIPE. 

The scene is the kitchen of a farm-house. Centre of room 
is a small table, upon which stand a pitcher, two pewter 
mugs, and a plate of apples. Seated at each side of this 
table, facing the audience, is a farmer. They wear plain 
homespun suits. One is just lifting a cup to his lips as if 
drinking. The other is looking up, smiling, to a young 
girl, filling a pipe, and holds out one hand for it. The 
girl wears a bright chintz dress and coquettish little cap. 
She stands behind the table, facing audience. One hand 
holds a clay pipe, and with the forefinger of the other hand, 
she is pressing tobacco into the bowl. Both farmers are 
elderly men, the girl young and pretty. 

TABLEAU III. — HORNPIPE. 

The scene is again the kitchen of a farm-house. The 
centre of the room is cleared, but at both sides stand as 
many country folks, in pretty peasant dresses, as can well 
be raised in the corps of performers. Centre of room, one 
hand raised to his hat, one arm a kimbo, and hand on the 
hip, is a sailor in one of the attitudes of the hornpipe. If 
there is a good dancer in the dramatic force, the dance itself 
may be introduced here. 

BEICKBAT. 

TABLEAU I. — BBICK. 

Let these tableaux be entrusted entirely to the boys. 
The scene for the first, is an Irishman's cabin. The table 
is spread for supper, centre of room. Paddy, seated on the 
floor, centre of foreground, has at his side a hod, in which 
is one brick. He takes it out with one hand, while with 



80 CHARADES IN TABLEAUX. 

the otlier lie points to a pile of bricks in the corner of the 
room. The thieving hod carrier wears corduroy trousers, 
low shoes, woolen stockings, a flannel shirt, knit jacket and 
felt hat, and is covered with brick dust. 

TABLEAU II. — BAT. 

The scene is a large empty space, out-door, if possible, 
where eight boys stand for a game of base-ball. The ninth 
stands centre of foreground, and holds in his hand a bat 
snapped in two. All the faces express disappointment. 

TABLEAU III. — BRICKBAT. 

The scene is the street. Eight of foreground stands a 
gentleman, handsomely dressed, holding one foot in his 
hand, and in the other hand a large brickbat. His face and 
attitude express angry pain. Eunning off, extreme right 
of background, is a ragged boy, his finger on his nose as he 
looks centre of stage. Centre of stage a policeman has just 
collared another ragged boy, and shakes his stick at the 
one retreating. The captured boy is crying and trying to 
escape. 

BOOKWOEM. 

TABLEAU I. — BOOK. 

The scene represents a young lady's school on exhibition 
day. Centre of background is a platform, upon which are 
seated two lady and two gentleman teachers. Eight of 
stage is a row of chairs upon which visitors, ladies and gen- 
tlemen, are seated. Left of stage, another row of chairs, 
upon which are seated young ladies dressed in white with 
broad blue sashes. Centre of platform, profile to audience, 
facing each other, the principal of the school and a young 
lady are standing. She wears white with a crimson sash, 
and wreath of flowers. He wears a black suit and specta- 
cles. The principal is handing to the scholar a large hand- 
somely bound book. 



MADCAP. 81 



TABLEAU II. — WORM. 

The scene is a parlor. Centre of room stands a group o£ 
three persons. The figure to the right is a gentleman hand- 
ing a bouquet to a young lady, who is the central figure, and 
fainting into the arms of another gentleman standing, left, 
who supports her with one arm, while with the forefinger 
of his disengaged hand he points to a long worm on her 
dress, looking at the first gentleman angrily, as if the worm 
had dropped from the bouquet. The gentlemen are dressed 
in black, the lady wears a white dress, and the worm must 
be conspicuously large and black. 

TABLEAU in. — BOOKWORM. 

The scene is a library. Upon the sides of the room are 
book cases filled with books. Centre of stage stands a large 
table completely covered with large volumes, piled at each 
end, but leaving the centre space clear for one very large 
volume, which lies open. Chairs stand in the room, piled 
with book, and the floor is covered with similar piles. Be- 
hind the table, facing audience, is an elderly man, dressed 
in a ragged wrapper, shabby shirt, without collar or necktie, 
old slippers, hair long and disordered, reading. Both elbows 
are upon the table and both hands support his head, while 
his whole attention is absorbed in the volume open before 
him. 

MADCAP. 

TABLEAU I. — MAD. 

The scene is a cell, with stone sides. Gray muslin draped 
from the sides will produce this effect. Right of background 
a mattress is upon the floor, covered with a check quilt. 
Left of background stands a table and chair ; upon the for- 
mer a pitcher, and plate of bread. Centre of foreground, 
seated upon the floor facing audience, is a woman dressed in 
white, stocking feet, hair hanging loosely over her shoulders, 
and a face pallid and haggard. She has a chain round her 



82 CHARADES IN TABLEAUX. 

waist, which fastens her to the wall behind the mattress. 
She is playing with some straws, but looks up with a be- 
wildered, terrified expression. 

TABLEAU II. — CAP. 

The scene is a parlor. Centre of room, facing audience, 
is a very little girl dressed in white, who is putting on her 
head a^very gay old woman's cap. 

TABLEAU III. — MADCAP. 

The scene is a parlor. Centre of room is a table, with 
books, work-baskets and fancy articles in the greatest dis- 
order. Eight of foreground an old lady and gentleman are 
seated upon a sofa-. The old lady holds in one hand a pair 
of spectacles, in the other a handkerchief. She has just put 
one finger, covered with the handkerchief, through the spec- 
tacle frame, and is looking with consternation at the vacant 
place where the glass ought to be. The old gentleman has 
in one hand a snuff-box, from which he is taking a pinch, 
holding the box so that the audience can see it is full of 
salt instead of snuff. Left of foreground a young lady is 
seated upon a sofa, with a piece of knitting in her hand, 
from which the needles have been drawn and the wool of 
which is entangled. Standing beside her, a young gentle- 
man is wiping his forehead with a handkerchief that is 
smutty, and he has a long black streak upon his face. Cen- 
tre of background, facing audience, laughing immoderately, 
stands a little girl, who points right and left of foreground, 
as if mocking the victimis of her mischief. 

IDOL. 

TABLEAU I. — EYE. 

The scene is a school-room. Some boys are seated at 
desks as if studying, some grouped together over slates as 
if drawing. Centre of background is the teacher's desk and 
chair, empty. Left of foreground, two boys are playing 



IDOL. 83 

with a blow-pipe. One kneels, facing audience, with a ball 
of putty, which he holds up to his companion. The other, 
profile to audience, has the pipe to his mouth, and his cheeks 
puffed out as if blowing. The pipe is aimed to right of 
background, where the teacher is just entering. One hand 
is placed over his eye, and the other doubled up to shake at 
the owner of the blow-pipe. His countenance expresses pain 
and rage. 

TABLEAU II.— DOLL. 

Tle scene is a parlor. Centre of room is seated a little 
girl, with a large doll in her arms, which she is hushing to 
sleep. Beside her stands dolly's cradle. 

TABLEAU in. — IDOL. 

Here the scene is an empty space in the centre of stage. 
There is no furniture, but centre of background stands a 
large hideous idol. A living figure can be dressed and placed 
upon a pedestal, but it must be as grotesque and horrible as 
possible. Standing right and left of idol, facing audience, 
are two priests in long white robes, with arabesque figures 
embroidered upon the hems, white veils fastened round the 
forehead with gold bands. Eight and left of foreground 
are men and women in long robes of various colors, with 
head coverings of white cambric, all kneeling with their 
foreheads touching the ground. 



84 MOTHER GOOSE TABLEAUX. 



MOTHER GOOSE TABLEAUX. 

These tableaux are intended for the amusement of very 
little folks, who must act both as performers and guessers 
in the audience. For the holidays, either in the afternoon 
or evening, they will be found very amusing even for the 
older folks, who will doff their seniority for a time. One 
of our most scientific physicians was at such a performance, 
and owing to his well-known learning and dignified man- 
ner was condemned to sit in an upper room with some of 
the elder members of the family. After fidgeting for some 
time, and evidently listening to the gleeful laughter below 
with more interest than to his host's polite conversation, he 
suddenly turned to one of the ladies present — 
" Pray, madam," he said, " how old are you ? " 
Seeing the fun in his eyes, she promptly replied : 
"Six!" 

"Well," he said, " I am ten. Let's go play with the rest 
of the children." And for the remainder of the evening he 
was the life of the entertainment. 

So, you who read these articles, put your years in your 
pocket, and remember they are written for "you and the 
rest of the children." 

No scenery will be required, no curtain but the folding- 
doors, no properties that your housekeeping apparatus will 
not supply, no wardrobe but the nursery bureau, and no 
orchestra but the laugh and applause of your little folks. 

TABLEAU I. 

" Humpity, dumpity, my mammy's maid, 
She stole oranges I am afraid ; 
Some in her pocket, some in her sleeve, 
She stole oranges, I do believe ! " 

The stage is arranged as a dining-room. Upon the table 



MOTHER GOOSE TABLEAUX. 85 

(centre of stage) are the remains of the dessert, half-eaten pies, 
saucers, tumblers, bottles and plates, and, near the edge of 
the table, toward audience, a large dish of oranges. " My 
mammy's maid " stands between the table and the audience, 
profile to each. The little girl who takes this part must 
wear a chintz dress with full sleeves, fastening at the wrists, 
a large apron with pockets, a white cap and kerchief. The 
apron pockets are full of oranges, and she is stuffing two into 
her sleeve. Just entering the door is a little boy, who points 
triumphantly to the maid (he must be behind her). He 
looks very mischievous, and appears to be advancing on tip- 
toe to catch her. If the audience, do not guess the rhyme, 
let the little boy sing it before the curtain falls. 

TABLEAU II. 

" Little Jack Horner 
Sat in a corner, 
Eating a Christmas pie. 
He put in his thumb, 
And pulled out a plum, 
And said, ' what a good boy am I ! ' " 
The stage is arranged as a family sitting-room. In the 
centre is a table. One little girl, with spectacles and cap, is 
the nurse, sitting at the table sewing. The baby lies asleep 
in a cradle. In the right hand corner of foreground, facing 
audience, his feet stretched far apart, Jack Horner is seated 
on the floor, with the pie between his knees. He wears 
short socks, and short trousers, a blouse and large collar. 
One hand holds up the crust of the pie, while the other 
holds over his head a large raisin. A very small boy, with 
a very large pie, has the best effect. 

TABLEAU III. 

" There was an old woman 
Who lived in a shoe ; 
She had so many children 
She didn't know what to do ; 



86 MOTHER GOOSE TABLEAUX. 

She gave them some broth 

Without any bread, 
She whipped them all soundly 

And sent them to bed." 

Some little ingenuity is here required to make the shoe, 
but let the manager keep up a brave heart, and make the 
boys useful. First have a frame work made of wood in the 
shape of a shoe, standing up on end, the opening and instep 
toward audience. Cover this with black cambric, and make 
an immense white paper buckle. Between the sole and up- 
per, thrust the heads of all the " crying babes " in the house, 
as it is too elevated a position for the " live stock." The 
old woman, a girl about fourteen, must wear a white cap, a 
pair of spectacles, a petticoat of red stuff, with the skirt of 
her chintz dress looped up over it, a white shawl pinned 
over her shoulders, and heeled shoes. In her hand she has a 
a large bunch of rods. She stands centre of stage, in front 
of the shoe, holding her bunch of rods over the head of a 
little boy, "just caught," in his night-gown, and night- 
cap, and barefoot, and rubbing his eyes with his clenched 
fists, his face " made up " for a yell. All the children wear 
their night-gowns and wraps. One, right of foreground, 
is seated on the floor with a big bowl of soup between his 
knees, raising a spoon to his lips. One behind him, is lean- 
ing over with open mouth, as if waiting for his turn. Two 
are stealing into the shoe to escape the whipping. In short, 
have on the stage all the children you can muster, in vari- 
ous attitudes — some running away, some crying, some eating 
broth, and some hiding and peeping out behind the mam- 
moth shoe. 

TABLEAU IV. 

" To market, to market, 
To buy a plum bun, 
Home again, home again, 
Market is done." 

Here a very pretty market scene can be made. Have 



MOTHER GOOSE TABLEAUX. 87 

five empty tables for stalls, two on each, side of the room, 
one centre of background. In front of these put bushel 
baskets, empty tubs, and trays all empty. To the left of 
foreground, have a procession of the market people going 
home ; one little girl in the high cap, stuff gown and white 
apron of the Dutch huckster ; a little boy with a big butch- 
er's apron ; a little girl in a straw hat and stripped dress for 
a flower-girl ; little boy in a countryman's dress ; as many 
children, in short, as can be dressed up for hucksters, butch- 
ers, buttermen, pie and cake men. They are all leaving the 
empty stalls. Right of foreground, profile to audience, as 
if just entering the market, is a very little boy, with straw 
hat, blouse, and short trousers. In one hand he holds a 
penny. On the other arm is an enormous basket. He sings 
gleefully the first two lines of the verse. In deep tones, the 
market people, turning suddenly round to face him, sing the 
second, and then wheel into their first positions. The little 
boy's face changes to a look of dismay, and all stand mo- 
tionless again until the curtain falls. The moving tableaux 
require rather expert performers to give the peculiar au- 
tomaton jerks, like jumping Jacks moved by a string, but 
they can be made very funny. In this scene let every one 
of the market people raise the right arm, and drop it at the 
end of the verse. Raise it at " home," turning to face the 
child, drop it at " done," turning from him. 

TABLEAU V. 

'• Ride a cock horse to Banbury Cross, 
To see an old woman ride on a horse ; 
With rings on her lingers and bells on her toes, 
She shall have music wherever she goes." 

In the centre of background stands a large white paste- 
board cross, with Banbury upon it in large black letters. 
About the centre of the stage, a little to the left, stands the 
rocking horse. Upon this is seated the old woman, who 
wears a high pointed black hat, with a white cap under it, 



88 MOTHER GOOSE TABLEAUX. 

spectacles, heeled and buckled shoes, a short gown of chintz, 
and petticoat of red stuff. Her right hand falls down show- 
ing the number of rings, and from the toes of her shoes 
hang small brass bells. Between her and the cross, and be- 
tween her and audience, are a number of children, astride 
of sticks or stick horses, with whips in their hands, who 
stand perfectly still, staring at the old woman. 

TABLEAU VI. 

" Ride away, ride away, Johnny shall ride. 
He shall have little dog tied to one side ; 
He shall have pussy cat tied to the other, 
And Johnny shall ride to see his grandmother. 

Bemove the cross from the preceding scene, and in its 
place put a work-table. At this table is seated the mother 
(Madame Mere had best join the rest of the children), sew- 
ing. The rocking horse, in its old place, is mounted by 
Master Johnny, in his short trousers and socks, and holding 
a big whip. To his belt are fastened two long strings, 
which are fastened at the other end, one to a cat, and the 
other to a curly dog (toys on wheels). In the corner of 
foreground, facing the horse, sits the grandmother. A bas- 
ket of work is on the floor beside her ; one hand holds the 
stocking she is knitting. She has both arms out to welcome 
Master John, coming to visit her. If there is no rocking 
horse in the nursery, a stick horse, or even a broom handle 
will do for Johnny's spirited steed. 

TABLEAUX VII, VIII, IX. 

" When I was a bachelor, I lived by myself, 
And all the bread and cheese I got, I put upon a shelf, 
The rats and the mice they made such a strife, 
I was forced to go to London to get myself a wife." 

The stage represents a kitchen, with a shelf across the 
background. In the centre of stage is a table, upon which 
is a hat and scarf. Upon the shelf are loaves of bread and 



MOTHER GOOSE TABLEAUX. 89 

cheese, all overrun with rats and mice (made of lead-colored 
canton flannel, with black bead eyes, long horse-hair whis- 
kers, and string tails, if the the little folks have not toy rats 
and mice). In the centre of foreground stands the bachelor, 
who, with a very rueful face, is putting on his overcoat before 
starting for London. 

" The roads were so bad, the lanes were so narrow, 
I was forced to bring my wife home in a wheelbarrow.'' 

Scene same as before. The bachelor, with hat and scarf 
on, is just wheeling the barrow into the room (centre of fore- 
ground). In the wheelbarrow is seated a little girl, with a 
fashionable bonnet, cloak and dress, holding an open para- 
sol over her head. 

" The wheelbarrow broke and my wife had a fall. 
Down came the wheelbarrow, wife and all." 

By taking out the sides of the barrow, removing the 
wheel and tipping it over, the curtain rises again upon a 
melancholy wreck. The wife lies on the floor crying, the 
parasol fallen from her, and the late bachelor stands with 
raised hands and a face of dismay looking at the mischief. 

TABLEAU X. 

"Little Miss Muffet 

Sat on a tuffet, 
Eating her curds and whey ; 

There came a big spider, 

And sat down beside her, 
And frightened Miss Muffet away." 

If in the housekeeping furniture there is a "tuffet," so 
much the better, but if you, like me, have had your educa- 
tion so shockingly neglected, that the word is in an unknown 
tongue, you may use one of the nursery crickets for Miss 
Muffet's throne. Miss Muffet's hair (another of the deep 
mysteries of the popular author of the poem), must be in a 



90 MOTHER GOOSE TABLEAUX. 

state of dire confusion — or as the nurses say, " all on end." 
She must be seated centre of stage, facing audience, with 
a large bowl of curds-and-whey in her lap. One hand holds 
the bowl, and the other the spoon. Close beside her is the 
dreadful animal, the " big spider." (Horrible looking spi- 
ders on spiral wires may be bought for a few pennies at any 
toy shop). Miss Muffet's face, full of terror, is turned to 
the spider, and she grasps the bowl and spoon as if about to 
run away. 

TABLEAUX XI., XII. 

" Sing a song o' sixpence, a pocket full of rye, 
Four and twenty blackbirds baked in a pie ; 
When the pie was opened the birds began to sing ; 
Was not that a dainty dish to set before a king ? 
The king was in the parlor, counting out his money." 

IN" the centre of stage is a table, and upon it the wonder- 
ful pie in a large dish. The table is covered with a cloth 
that reaches to the floor. To the left of foreground is an- 
other smaller table, with money piled upon it. Behind this, 
facing audience, is a little boy, with the long robe and gilt 
paper crown of a king. One hand is over the money, the 
other raised as if listening, and his face, full of astonishment, 
is turned to the pie. Behind the centre table, facing audience, 
is another little boy with the white apron and cap of a cook. 
In his hands, upraised with wonder, are a knife and fork. 
His face expresses astonishment and wonder. Rising from 
the centre of the pie are the heads of the blackbirds, their 
mouths open. Concealed under the table is a little boy with 
a bird whistle, which he blows until the curtain falls. 

" The queen was in the kitchen, eating bread and honey, 
The maid was out of doors, hanging up the clothes, 
Along came a blackbird, and snapped off her nose." 

The scene is a kitchen with half parted off to make a 
background scene. The clothes-horse stretched across, or a 
line with shawls hanging from it, divides a stage very nicely 
Leave an open door. In the foreground is a table, upon 



MOTHER GOOSE TABLEAUX. 91 

which is placed a loaf of bread, plate and knife, and a large 
jar marked honey. The queen, in a long train, high collar 
ruff, and gilt crown, is seated before the table, just raising a 
slice of bread and honey to her lips. Through the door in 
background, the maid, in a neat dress and cap, is seen hold- 
ing up a white apron as if hanging it on a line ; at her feet 
is a basket of clothes. In the air above her, suspended from 
the ceiling, is an artificial or stuffed blackbird, with out- 
stretched wings and open bill, flying at her face. She is 
starting back as if to save her threatened and doomed fea- 
ture. 

TABLEAU XIII. 

" Jack Sprat could eat no fat, 
His wife could eat no lean, 
So Hwixt them both, they cleared the cloth, 
And licked the platter clean." 

In the centre of the stage is a table covered with a white 
cloth. Upon this is a large empty meat dish, two plates, 
one with an immense piece of fat upon it, the other a piece 
of lean meat. These plates stand at each end of the table. 
In front of them, at either end, profile to audience, are seated 
Jack Sprat and his wife, a little boy and girl. The little boy 
wears a country dress of old fashion, large lay-down collar, 
swallow-tailed coat, and broad-brimmed hat. The wife has 
a cap, kerchief and stuff gown. In front of Jack is the plate 
of lean meat, in front of his wife the fat. Each holds a knife 
and fork, and appears to be eating with voracity. A pitcher, 
cups or tumblers, and bread may also stand upon the table. 

TABLEAU XIY. 

11 See-saw, Margery Daw 
Sold her bed, and lay upon straw, 
Sold her ease for a bed of dried grass, 
To buy herself a looking-glass." 

The stage is arranged as a meanly-furnished room, in the 



92 MOTHER GOOSE TABLEAUX. 

centre of floor is thrown a large bundle of straw. Upon the 
rickety chair is a handsome dress, and upon a table a bonnet 
and shawl. Margery Daw is lying on the bundle of straw, 
fast asleep, covered with a large shawl. In the centre of 
background is a handsome mirror hanging on the wall. 

TABLEAU XV. 

" Pussy cat, pussy cat, where Lave you been 1 
I've been to London, to see the Queen. 
Pussy cat, pussy cat, what did you do there ? 
I frightened a little mouse under a chair." 

One of the little boys must play pussy. His pasteboard 
mask, with large green eyes and long horse-hair whiskers, 
and his long tail of gray worsted scarf, will make him a fero- 
cious beast. Upon his hands and knees, he must remain 
centre of foreground motionless. In the centre of back- 
ground sits the queen upon her throne, surrounded by court- 
iers waiting for pussy to pay his respects. The Queen wears 
a gilt crown, holds a sceptre, and sits very erect. Her silk 
train sweeps the floor. Grouped around her are gayly dressed 
little boys and girls for courtiers. To the left of foreground 
stands a chair, and under this is the poor frightened little 
mouse at whom pussy is lifting one paw. 

TABLEAUX XVI., XYIL, XVIII AND XIX. 

" When good King Arthur ruled this land 
He was a goodly King ; 
He stole three pecks of barley meal, 
To make a bag pudding." 

The scene is a dimly-lighted room, fitted up for a miller's 
store. Barrels and sacks of meal stand against the wall. A 
little boy with a long robe and gilt crown represents King 
Arthur. With a bag of meal in one hand and a dark lan- 
tern in the other, he is just stealing on tiptoe off the stage. 



MOTHER GOOSE TABLEAUX. 93 

(: A bag pudding the King did make, 
And stuffed it well with plums, 
And put in two great lumps of fat, 
As big as my two thumbs." 

The scene is a kitchen. In the centre of stage is a table, 
npon which stands the kneading-trough. Plates of plums, 
flour, eggs, and the immortal lumps of fat are all on the 
table. Behind the trough, facing audience, is the King, his 
sleeves rolled up, and a large white apron before him. He is 
pouring plums, well floured, from a large bowl into the pud- 
ding. 

" The King and Queen did eat thereof, 
And all the court beside." 

Scene same as before. Upon the table stands an immense 
dish, and upon it the large, round pudding. Seated around 
the table are the courtiers (the more extravagant the dresses 
the better), each with a plate before him. The King and 
Queen sit at each end of the table, facing each other, profile 
to audience. All the performers hold up a knife and fork, 
and look w r ith hungry eyes at the pudding. 

" And what they could not eat that night, 
The Queen next morning fried." 

Scene same as before. Upon the table stands half of the 
pudding and a large frying-pan. The Queen, with her crown 
on, and a large white apron before her, is cutting the pud- 
ding into slices ; one hand holds a large knife, the other is 
just putting a slice of pudding in the pan. 

TABLEAU XX. 

" Rock-a-by, baby, thy cradle is green, 
-Father's a nobleman, mother's a Queen, 
Betty's a lady and wears a gold ring, 
And Johnny's a drummer, and drums for the King." 

The scene is a nursery. In the centre of stage is a cradle, 
with a great top and green quilt, and in the cradle is a 



94 MOTHER GOOSE TABLEAUX. 

baby (or big doll). Beside the cradle is seated Betty, in a 
handsome silk dress, playing with a gold ring on her finger. 
Coming in the door, centre of background, is the " noble- 
man," a little boy in a fancy court dress, leading in the 
Queen crowned and sceptred. In the foreground is a little 
boy, dressed in a velvet suit, with short trousers and short 
socks, who has a big drum strung round his neck. His fists 
hold the drum-sticks raised up to strike the drum. 

TABLEAU XXI. 

" If I'd as much money as I could spend, 
I never would cry old chairs to mend, 
Old chairs to mend, old chairs to mend, 
I never would cry old chairs to mend." 

" If I'd as much money as I could tell, 
I never would cry old rags to sell, 
Old rags to sell, old rags to sell, 
I never would cry old rags to sell." 

Let the curtain rise on a stage perfectly empty. From 
one side behind the scenes, comes the cry " Old chairs to 
mend ! Old chairs to mend !" From the other side the cry 
is, " Old rags to sell ! Old rags to sell ! " 

The merchants must wear old ragged dresses, overcoats, 
and gloves without fingers, " shocking bad hats," and gap- 
ing boots. One carries on his head a pile of chairs, the 
other shoulders an immense rag bag. After the cry off the 
stage (repeated alternately), the performers come on the 
stage from opposite sides, each crying their wares. Meeting 
in the centre of the foreground they stop, eye each other, 
and bow. Then the rag man sings sarcastically the first 
verse of the song, with a strong accent on the personal pro- 
. noun. After he finishes the chair man walks deliberately 
round him, and then in a contemptuous manner, also em- 
phasizing the I, sings the seconds verse. At its conclusion, 
with every gesture of contempt, the merchants turn their 
backs upon each other, and go out at the side opposite to 



MOTHER GOOSE TABLEAUX. 95 

tlie one at which they entered, each in a loud, defiant tone, 
crying their " Old chairs to mend ! y> and " Old rags to 
sell ! " 

TABLEAUX XXII, XXIII. 

" Simple Simon met a pieman 

Going to the fair ; 
Said simple Simon to the pieman, 

Let me taste your ware. 
Said the pieman to simple Simon, 

Show me first your penny. 
Said simple Simon to the pieman, 

Indeed I have not any." 

In the centre of stage stands the pieman, with a white 
apron and baker's cap on. Upon his arm is a large square 
basket covered with a white cloth. In one hand he holds 
out a small pie, while the other is extended qjpen for a 
penny. The boy, who takes the part of Simon, must be 
capable of putting on a perfectly vacant stare. He is 
standing left of pieman, facing audience, staring eagerly at 
the pie, his pockets turned inside out, and his hands feeling 
them for the missing penny. 

" Simple Simon went a fishing 
For to catch a whale ; 
All the water he could get 
Was in his mother's pail." 

In the centre of foreground stands the pail of water. In 
the centre of foreground, exactly facing the pail, simple 
Simon is seated upon a chair placed upon a table. He has 
a long fishing pole, the line from which falls into the pail, 
and his eyes are fixed with eagerness upon the hook. The 
best dress for simple Simon is a pair of summer pants, too 
short and too tight (a fat boy is best for the part), a long 
gingham apron with sleeves, a hat without a brim, low shoes 
and colored cotton stockings. All his clothes should appear 
to be outgrown. 



96 MOTHER GOOSE TABLEAUX. 



TABLEAU XXIV. 

" Pat a cake, pat a cake, baker's man, 
So I will, master, as fast as I can, 
Pat it, and prick it, and mark it with B, 
And toss it in the oven for baby and me." 

In the centre of the stage have a table, upon which is the 
kneading-trough. Behind the table, facing audience, is the 
" baker's man," with his white apron and cap, patting a 
piece of dough. In the foreground stands the master, with 
the baby on his arm. Crying babies are best for tableaux, 
as, if broken, they are not quite so important as " mamma's 
darling." 

TABLEAU XXY. 

" Dickerty, dickerty, dock, 
The mouse ran up the clock, 

The clock struck one, 

The mouse ran down, 
Dickerty, dickerty, dock." 

Iisr centre, rear of stage, the imitation of an old-fashioned 
wooden-cased clock, with hands set to represent one o'clock. 
A large mouse, with a fine black thread attached to its head, 
and another to its tail, is drawn by the head-string slowly 
up the front of the clock, while a group of children, fanci- 
fully dressed, all point at the mouse. As soon the mouse 
has reached the top, the clock must strike one, the strings 
reversed, and the mouse let down by the tail-string ; at the 
same time all the children should wheel round, facing audi- 
ence, with both arms raised as if in astonishment. 

The children should be grouped with a view to general 
effect, and change position all together, exactly at the stroke 
of the clock. 



TABLEAUX FROH "ALADDIN." 07 



FAIKY TALE TABLEAUX. 

These scenes are also arranged expressly for juvenile per- 
formers, and are most of them descriptions of tableaux wit- 
nessed by the writer ; the pretty scenes and costumes of the 
little folks making very effective pictures. The audience, 
after seeing all the scenes bearing upon one fairy tale, 
should be required to guess the story represented. 

TABLEAUX FEOM " ALADDIF, OR THE WONDER- 
FUL LAMP. 53 

Scexe I. represents the magician and Aladdin when the 
latter is about descending into the magic cave. The magi- 
cian must wear a long white beard and hair ; a high-pointed 
black cap, with a band upon which are cabalistic figures in 
gilt paper ; a full robe of black, with similar figures just 
above the hem and on the belt. Aladdin wears an Oriental 
dress of dark blue stuff, and a cap of red cloth. The mo- 
ment chosen is that of the incantation. Upon the ground 
is a pile of dry sticks, heaped as if for a fire ; Aladdin kneels 
with a lighted taper, as if about to light the pile, while the 
magician, erect, extends his arms over the sticks. The fire 
should be centre of stage ; the magician behind it, facing 
audience ; Aladdin left, profile to audience. 

Scene II. represents the mother of Aladdin cleaning the 
lamp. In the centre of stage is a table, upon which are the 
antique bronze lamp and a cup of water. The mother of 
Aladdin, in an Oriental dress, is standing right of table, 
profile to audience, rubbing the Jamp. Aladdin, left of ta- 
ble, facing his mother, has his hand raised in an attitude of 
terrified astonishment. Behind the table, facing audience, 
.is the genius invoked by rubbing the lamp. Here is a 
chance for the boys. The head of the genius may be made 



98 FAIRY TALE TABLEAUX. 

of the lid of a bandbox, painted to represent a ferociously 
ugly human face, with a shock of black worsted hair. The 
body made of a broomstick with a cross-piece for shoulders. 
Drape from this a scarlet mantle. The legs are two boys, 
whose body and two legs represent one leg of the genius. 
A blue sack, open at the bottom and gathered at the neck, 
makes each leg of the trousers, and the scarlet mantle must 
cover the boys' heads. This form stands centre of back- 
ground, facing audience. Aladdin seems fainting with fear ; 
but the mother does not see the spirit she has invoked. 

Scene III. represents the sale of the wonderful lamp. In 
the centre of background is seated the princess, in a rich 
Oriental costume, before an embroidery frame. She has 
suspended her work, and is looking at the group in fore- 
ground. The magician, with a coarse blue cloak over his 
magic robe, and a red cap on his head, is kneeling right of 
foreground. Upon the ground before him is a basket cov- 
ered with a white cloth. One of the magician's hands is on 
the handle of the basket; the other holds up to the slave a 
very shiny new brass lamp. The princess' slave, in an 
Oriental dress, stands before magician, holding toward him 
the old lamp, her other hand extended to take the new one. 

Scene IY. represents the death of the magician. In the 
centre of stage is a table with fruit, cakes, and glasses upon 
it. On left side, profile to audience, is seated the princess, 
leaning forward, and looking eagerly at the magician, who 
is seated opposite to her. He has just fallen back, as if dead ; 
his hand, toward audience, grasrjing the cup which has con- 
tained the poison. Entering the room, centre of back- 
ground, is Aladdin. 

TABLEAUX EEOM - BLUE-BEABD." 

Sce^e I. represents the marriage of Bluebeard. The scene 
is a parlor, decorated with white and flowers. In centre of 
background is a large arch of flowers. Under this arch, fac- 
ing audience, stands the priest, in a long, full white robe. 



TABLEAUX FROM " BLUE-BEARD." 99 

He holds an open book in his hands. The bride wears full 
white Turkish trousers, a tunic of rich silk, a sash, and a 
long white veil, which covers her from head to foot. The 
bridegroom wears a robe of rich crimson silk, yellow trousers, 
and a profusion of blue worsted curls and long blue beard. 
The bride and groom stand, profile to audience, in front of 
the priest. Their' hands are clasped. Behind the bride stands 
sister Anne, the mother, and two brothers, the latter dressed 
as Turkish soldiers. (A Zouave dress would have a fine ef- 
fect.) Grouped at the sides of the room have as many guests 
as your wafdrobe of Oriental dresses will permit. 

Scene It. represents the wife of Bluebeard entering the 
fatal closet. In the centre of background must be a door, 
which she is just entering. With pallid face, and raised 
hands she stands in an attitude of horror, looking before her. 
At her feet, in a pool of blood (crimson flannel), lies a small 
key. In the foreground, stretched out stiffly, lie the five 
murdered wives, three on one side, two on the other. They 
wear long white robes, covering their feet, and have well- 
floured faces. Their garments are stained with blood, and 
are open at the throat to show a long gash at the neck. The 
scene should be in a ghastly, half light, but the wife of Blue- 
beard carries a lamp raised above her head, which shines 
upon her. This lamp should have a shade that throws the 
glare full upon her figure, leaving the foreground darkened. 

Scene III. represents the attempt to clean the key. A table 
stands in the centre of stage, upon which is a vessel of water. 
Behind the table, facing audience, is tlie wife of Bluebeard, 
rubbing the little key. She looks worried and terrified. Sis- 
ter Anne stands beside her, listening to the tale the wife is 
telling her ; her face expresses horror and surprise. 

Scene IV. represents the threatened death of the poor wife. 
She stands centre of stage, leaning toward the door, as if 
answering her husband's angry call. Her hair is unbound 
and falling over her shoulders, her face pale and terrified. 
From the window sister Anne is leaning, looking out, her 
hand raised as if to screen the sun from her eyes. 



100 FAIRY TALE TABLEAUX. 

Scene V. represents the death of Bluebeard. The wife 
kneels centre of stage, her hands raised and clasped together, 
her. face expressing terror and her attitude as if asking mercy. 
Bluebeard, one hand grasping a cimetar, the other the un- 
bound hair of his wife, is just reeling back from the death 
blow. Standing beside him is one brother, whose sword is 
buried in Bluebeard's garments, as if it pierced his heart. 
He appears to have just made the thrust. Entering the door 
is the second brother, with drawn sword, and angry face. 
Sister Anne stands near the wife, her hands extended to raise 
her from her kneeling position. This scene is rfiuch more 
effective if part of the background is curtained off with sev- 
eral thicknesses of blue gauze, behind which stand grouped 
the five murdered wives, with with white faces and bloody 
garments. 

TABLEAUX FEOM " CINDERELLA." 

Scene I. represents the sisters of Cinderella dressing for 
the ball. The scene is a lady's-dressing room. Left of cen- 
tre is a toilet- table with jewelry, bouquets, laces and ribbons 
scattered upon it, and a large mirror, facing right. Oppo- 
site the mirror, profile to audience stands a little girl in a 
yellow silk petticoat, purple satin train, white plumes, pur- 
ple satin waist, buttoned with white. She is looking in the 
glass and arranging the feathers in her hair. Left of fore- 
ground is another little girl dressed in a crimson velvet 
dress over a white satin petticoat, crimson flowers in her 
hair, and a gold chain round her neck. Both sisters wear 
jewelry. Kneeling beside the one, left of foreground, pro- 
file to audience, is Cinderella, dressed in a ragged brown 
calico with a handkerchief pinned over her hair. She is 
arranging a fold in the velvet train. Eight of foreground, 
seated, is the step-mother, dressed in green satin, with white 
plumes in her hair. 

Scene II. represents Cinderella's appearance at the ball. 
The scene is a ball-room, with children dressed in every 



TABLEAUX FROM " CINDERELLA. " 101 

color, some dancing, some conversing, grouped in the back- 
ground. Bight of foreground, facing left, is a throne, upon 
which are seated the King and Queen. The King wears a 
purple marrtle trimmed, with ermine, and a gold crown ; the 
Queen wears a white satin dress, crimson velvet mantle 
trimmed with ermine and a crown. Left of foreground the 
step-mother and sisters are seated. Centre of room Cin- 
derella and the Prince are standing ; the Prince is just lift- 
ing Cinderella's veil. The Prince wears a suit of blue vel- 
vet, slashed, with white satin let in ; long silk stockings, a 
velvet mantle falling over one arm, blue velvet slippers with 
gold buckles ; a blue velvet cap, with a white plume fastened 
with a jewelled clasp. Cinderella is dressed in white lace, 
over white satin, white satin shoes thickly covered with 
spangles, white plumes ; a large illusion veil thrown over her 
head covers her from head to foot. This veil the Prince is 
raising, his face bent forward to see hers, while she looks 
down. 

Scene III. represents the King's herald trying on the 
slipper, Scene same as Scene II. Centre of stage is a large 
arm-chair, facing audience, in which is seated Cinderella 
covered with a large brown cloak, which hides her dress. 
One foot is covered with her white satin slipper, and she is 
drawing the mate to it from her pocket. The Prince stands 
at right, in an attitude of surprise. Left, the step-mother 
and sisters, looking very angry. Just entering the door, 
centre of background, is the fairy god-mother, dressed in a 
long scarlet cloak, high heeled slippers, a pointed cap, and 
carrying a crutch. The ball-room guests, King and Queen, 
as in Scene II. 

Scene IV. Cinderella triumphant. The scene same as II. 
and III. Cinderella is standing before the arm-chair, 
dressed as in Scene II., without the veil. At her feet the 
Prince is kneeling, kissing her hand, while she looks down 
smilingly upon him. All the others stand in attitudes of 
astonishment. The King and Queen have risen, and hold 
up their hands, the step-mother and sisters hids their faces, 



102 FAIRY TALE TABLEAUX. 

and the guests all stand in surprise. The fairy god-mother 
is standing upon the arm-chair waving her crutch over the 
Prince and Cinderella. 

TABLEAUX FEOM " BEAUTY AND THE BEAST." 

Scene I. Represents the father of Beauty starting upon 
his journey. The scene is the kitchen of a farm-house. 
In the centre of the stage stands the old merchant, dressed 
for travel, and embracing Beauty. Beauty wears a plain, 
poor dress, very neat, and has a sweet, fair face. The sisters 
stand right of background, dressed in old shabby finery. 
One is looking delighted, as if anticipating the wealth she 
hopes for, the other curls her lip scornfully, looking at her 
father embracing Beauty. 

Scene II. represents the merchant taking the rose. As 
a garden scene is difficult to arrange, a flower-stand placed 
in a room will do as well. In the centre of the room stands 
a table spread for supper. The flower-stand is right of 
foreground, and upon it are pots of roses in bloom. In 
centre of foreground the merchant is kneeling, his hands 
clasped and raised up, imploring pity. In his grasp is a 
large red rose. Standing before the merchant (both have 
profile to audience) is the Beast. The boy who takes this 
part must wear a complete bear's skin (a suit can easily be 
hired at a costumer's, or it may be made of shag cloth, the 
head composed of paste-board, covered with shag cloth, 
with a huge red mouth, long tongue, and large glass eyes), 
and carry an immense club. He is raising his club with' 
both hands over the kneeling merchant. 

Scene III. represents Beauty and the Beast at supper. 
The scene is the same as scene second. At the table are 
seated Beauty and the Beast, opposite each other, and pro- 
file to audience. Beauty is dressed in a magnificent evening 
costume, with jewels and flowers. The Beast is offering her 
a dish, which she waves away with one hand. 

Scene IY. represents Beauty's vision. The room is the same 



TABLEAUX FROM a THE SLEEPING BEAUTY." 103 

as in Scenes II. and III., the background being concealed by 
a curtain. In the foreground stands the Beast, pointing to 
the curtain. Beauty seated left of foreground looks . at the 
curtain. Slowly, to music, the curtain is raised. Behind it 
is seen a sofa upon which lies the merchant, his eyes closed, 
as if dying. Beside him kneels one of the sisters, and be- 
hind the sofa, facing audience, the other sisters stand up ; 
one brother stands beside her, holding. her as she is weeping 
on his breast ; the other two brothers stand at foot of sofa 
looking at the merchant. 

Scene V. represents the return of Beauty to the Beast. 
The scene is the same as II. and III., the curtain being re., 
moved. In the centre of the stage the Beast lies on the 
ground as if dying. Behind him, kneeling, facing audience, 
is Beauty, bending, weeping over him. Drop the curtain tp 
raise it instantly again, for. 

Scene VI., representing the transformation. Have ready 
the boy who takes the part of the Prince, a handsome lad 
in a rich dress. Beauty stands centre of stage, while at her 
feet kneels the Prince. Beside them on the ground lies a 
bear-skin. If the curtain is raised quickly, the change of 
performers and position being made rapidly, the effect of 
these tableaux is very striking. 

THE SLEEPING BEAUTY. 

Scene I. represents the fairies bestowing their gifts upon 
the infant Princess. Centre of background is a raised 
throne, upon which are seated the King and Queen wear- 
ing fur-trimmed mantles and golden crowns. Punning 
lengthwise of the stage is a table, upon which are fruit, cakes 
and wine. Six plates of gold, and one of silver, six gold 
cups and one silver one, stand upon the table. Right of 
foreground is a cradle, with a baby in it. Pound this are 
clustered five fairies dressed in white, spangled with gold, 
with white wreaths and star-tipped wands. Left of fore- 
ground stands an old fairy, dressed in scarlet and black, 



104 FAIKY TALE TABLEAUX. 

carrying a wand round which two snakes are twisted, and 
wearing a scarlet and black crown. She seems angry, and 
points the snake wand at the cradle. The five fairies hold 
each one arm over the baby, while the other is extended to 
the angry fairy, as if to avert her displeasure. The King 
and Queen are leaning forward with clasped hands and im- 
ploring faces. Behind the throne, just coming forward, is 
a little fairy in light blue, with silver spangles and a wand 
tipped with a silver star. 

Scene II. represents the enchantment. The scene is an 
attic. Centre of background stands a spinning-wheel, before 
which is seated the angry fairy, dressed as an old woman, 
in a white cap and brown cloak. She has one hand upon 
the spinning-wheel, with the other one points mockingly to 
the Princess, while her face expresses malignant pleasure. 
The Princess, dressed in white satin trimmed with gold, a 
gold coronet, and jewels on her neck and arms, lies in a 
chair, right of foreground, profile to audience, as if she had 
just fallen senseless. In one hand she holds the distaff, as 
if it was piercing the palm, while the other hand hangs 
over the arm of the chair. 

Scene III. represents the wakening. The scene is a richly 
furnished room. Centre of background is a couch covered 
with white. The Princess, dressed as in Scene II., is reclin- 
ing upon this, facing audience, her head upon her hand, the 
elbow of her arm resting upon the couch. The other arm 
encircles the neck of the Prince, who kneels, profile to audi- 
ence, facing the Princess. He is dressed in crimson velvet, 
slashed, with white satin let in, a crimson cap with a white 
plume lies on the floor at his side. His eyes look lovingly into 
those of the Princess, one arm thrown around her, while 
the other hand raises a tress of her hair to his lips, Left of 
foreground, the King and Queen are just entering the 
room, rubbing their eyes as if just wakening from a nap. 
Bight of foreground, the six good fairies are coming in, while 
right of background, just hobbling off, is the bad fairy, 
' dressed as in Scene I. 



LITTLE BED IilDINGHOOD. 105 



LITTLE BED BIDINGHOOD. 

Scene I. represents the mother dressing Little Bed Biding- 
hood for her visit to her grandmother. The scene is the 
kitchen of a farm-house. Centre of room stands a table, upon 
which ar,e a covered basket and a small earthen jar. In front 
of the table is an arm-chair, in which is seated the mother, 
profile to audience. She is dressed in a dark stuff gown, 
looped over a gay petticoat, buckled shoes, clocked stockings, 
a plaid kerchief pinned over her breast, and a high white 
muslin cap. She is fastening the cloak upon Little Bed Bid- 
inghood, who stands facing her. The child's dress is entirely 
covered with a long scarlet cloak, the hood of which i3 
drawn up over her hair. 

Scene II. represents the meeting with the wolf. Here the 
boys must exercise their ingenuity till one of them is trans- 
formed into a famous wolf. A complete skin may be ob- 
tained at a costumer's, but if that is not feasible, a paste- 
board head can be painted, and a shaggy coat made of 
muslin covered with worsted, or a stuffed dog can have a 
wolf's head fastened upon it. The scene is a field, and the 
wolf and Little Bed Bidinghood stand, she facing, he pro- 
file to audience, in the centre. The child looks down, as if 
talking to the wolf. 

Scene III. represents the wolf about to devour Little Bed 
Bidinghood. The scene is a bed-room. Centre of background 
is a bed, from which the wolf in a night-cap and night- 
gown is looking over the edge, and reaching out his arm to 
hold the child, who is just trying to escape. She is dressed 
in a long white night-gown, and is kneeling on the floor, 
profile to audience, her hands raised and clasped and looking 
up at the wolf. Upon a chair at the foot of the bed, are her 
scarlet cloak, dress, and shoes and stockings, and on a table, 
right of foreground, arc the basket and jar. 



106 TABLEAUX VIVANTS, 



TABLEAUX VIVANTS. 

The following Tableaux, together with some excellent 
preliminary remarks and directions for the effective repre- 
sentation of Tableaux in general, are adapted from " The 
Sociable ; or, 1001 Home Amusements." 

The main points to be observed in getting up a tableau, 
are just the same as in painting a picture. Light and shade, 
color and tone, are the means by which all pictorial effects 
are produced on the stage or on the canvas, and he who best 
understands their employment, is the best artist. Without 
doubt, the best place for the arrangement of tableaux, is a 
parlor, separated from the audience by folding-doors. 

It is impossible to give any fixed rules which will apply 
to ail tableaux, as the effects required for different subjects 
are totally different. But a few general directions may not 
be amiss, as they will be found of frequent service, and will 
suggest many more. The costuming of the performers will 
be one of the most important features, and will depend en- 
tirely upon their taste and resources. 

A most important part of dramatic preparation is what is 
technically termed the " making up " of the characters, and 
one which requires some practice and observation. This is 
the painting and shading of faces, the adaptation of wigs, 
etc., to make the young look old, the plump lean, etc. 

For the " making up " of any variety of different faces, a 
box of good water-colors, a little fine chalk, some camel's- I 
hair pencils, and dry rouge, are wanted. If a comical ex- 
pression is required, mix a reddish brown tint with the wa- 
ter-colors, stand before a mirror, assume the desired " broad 
grin," and trace the wrinkles produced with a fine brush 
of the brown tint. This will fix the line which your face 
requires, to give it the expression, much more naturally 
than you could do it by following any of the rules current 



TABLEAUX VIVANTS. 107 

among artists. The saine may be done with frowns, smirks, 
simpers, scowls, and all other marked* contortions of fea- 
ture. 

Rouge should be applied with the forefinger — a much 
better implement than the traditional hare's-foot — and 
should be softly graded off upon the cheek. Chalk should 
be very sx)aringly used. Burnt cork is very effective for 
black eyes, or for representing leanness, by applying a very 
faint tint underneath the eyes, on the sides of the cheeks 
and under the lower lip. A strong mark running from the 
corner of the nose down to ward's the corner of the mouth, 
on each side, is a good sign of age or emaciation, but these 
points are best learned by observing different faces. Mous- 
taches and beards, when slight, should be made with India- 
ink and a fine pencil. A few sets of false ones, of real hair, 
however, as also a few wigs of various colors and patterns, 
will be found a great addition to the wardrobe. In the 
tableau of the " Drunkard's Home," in this work, there is 
great scope for the art of " making up," and a good effect 
may be produced on the faces and arms of the women and 
children, by deepening the shadows with cork, or India-ink, 
and heightening the prominent features with chalk. For 
the man, a flushed color, with a few purplish spots on the 
cheeks and nose, will be appropriate, 

The colors of garments used in tableaux are much more 
to be considered than in dramatic representations, as much 
of the beauty of the picture depends upon a harmonious and 
pleasing distribution of tints. As a general rule, the lightest 
colored figures should be kept in the background, to relieve 
the darker ones. A strong "bit of color," such as a scarlet 
shawl, or military coat, gracefully disposed in the middle 
ground, between the nearest and farthest figures, will have 
a good effect in many scenes, whether worn by some char- 
acter, or thrown over a piece of furniture. At the same 
time, great care should be taken to avoid the common and 
vulgar error of combining too many gay colors. Indeed, 
the two great reasons of the want of artistic effect in tub- 



103 



TABLEAUX VI V ANTS. 



leaux, as commonly arranged, are first, too much light, and 
second, too much color. In. almost every tableau where 
-more than three figures appear, one at least should be in 
shadow, relieved by something light behind. The following 
diagram will show how the shadow may be gained : 



B. 















LIGHT. 


2 


4 


1 
STAGE. 


h 


3 


CO 

Q 

w 

H 
W 


* 

li 

LIGHT. 


7 








6 


fed 


II * 



FRONT. 

Suppose the figures 1, 2, 3, 4, 5, 6, 7, to represent the per- 
formers. The two lights, indicated thus *., illuminate the 
back of the stage, forming a light background. Figure 1 
will then be in range of both lights ; figure 2 will be par- 
tially shaded by figure 5 ; figure 3 will be partially shaded 
by the rear screen ; figures 4 and 5 will be in full light ; fig- 
ure 6 in the deep shadow from both screens, and figure 7 
dimly illuminated by the rear light only. Here we have a 
different degree of light for almost every character, and the 
effect will be found a charming one. Foot-lights should 
hardly ever be used in arranging tableaux, as they give 
shadows exactly the opposite of picturesque. The lights 
should be brilliant,««placed high up, and few in number. A 
good effect may sometimes be got by cross lights, but, gen- 
erally, it is best to have them all on one side of the stage. 

Colored lights are capable of being used with very happy 
results, and it is by no means a difficult matter to produce 



TABLEAUX VXVANTS. 109 

tliem, eii}her by colored fires, such as are used at the theatres, 
or by filling globes with colored liquids, and placing them 
in front of the lamps, like those we see in the windows of 
the chemists' shops, Heel fire, which is beautiful for light- 
ing up the finale of the scene, especially where the subject 
is heroic, national, or martial, may be made from the follow- 
ing receipt (care being taken to follow the proportions) : 

Five ounces nitrate of strontia (dry) ; one-and-a-half 
ounces finely-powdered sulphur ; take five drams chlorate 
of potash, and four drams sulphuret of antimony, and pow- 
der them separately in a mortar ; then mix them on paper, 
and having mixed the other ingredients (previously pow- 
dered), add these last, and rub the whole together on paper. ' 
For use, mix a little spirits of wine with the powder, and 
burn in a flat iron pan or plate. 

A beautiful green fire, forming a fine contrast to the for- 
mer, may be made by powdering finely and mixing well 
thirteen parts flour of sulphur, five parts oxymuriate of 
potassa, two parts metallic arsenic, and three parts pulverized 
charcoal. Then take seventy-seven parts nitrate of baryta, 
dry it carefully, powder it, and mix the whole thoroughly. 
A polished reflector, fitted on one side of the pan in which 
this is burned, will concentrate the light, and cast a brilliant 
green lustre on the figures. 

A bluish-green fire may be produced by burning muriate 
of copper, finely powdered and mixed with spirits of wine, 
and several other colors can be obtained by a little study of 
chemistry ; but the smoke and smell of these preparations 
render* them less pleasant for the drawing-room than the 
globes filled with colored liquids. Where a window opens 
from the side of the stage, the fire might be burned outside, 
or even in a hall, where a door could be opened. Generally, 
however, the other plan will be found the neatest and sim- 
plest. Sulphate of copper, dissolved in water (after having 
been heated and pulverized), will give a beautiful blue 
liquid. The common red cabbage, or litmus, so well known 
in chemistry, will give three different colors, thus : 



110 TABLEAUX V1VANTS. 

Slice the litmus thin, and pour boiling water on it. De- 
cant the infusion, when cold, and add a small quantity of 
alum dissolved in water, which will give a clear rich purple. 
If potash dissolved in water be used instead of alum, the 
water will assume a brilliant green tint. A fine crimson 
may be got by a few drops of muriatic acid, instead of alum 
or potash. 

For ghostly scenes, where a sepulchral unearthly effect is 
desired, the following may be tried, and if properly man- 
aged, will astonish even the performers themselves : 

Mix some common salt with spirits of wine, in a metal 
cup, and set it upon a wire frame, over a spirit-lamp. 
"When the cup becomes heated, and the spirits of wine ignite, 
the other lights in the room should be extinguished, and 
that of the spirit-lamp shaded in some way. The result 
will be that the whole group — faces, dresses, and all — will 
be of one dingy yellow tint, no matter how bright their cos- 
tumes or how rosy their cheeks may be. 

Another great accessory to the tableau, but one which 
cannot always be had, is thin gauze, or common mosquito 
netting — in fact, any stuff which can be seen through — to 
interpose between the audience and the scene. Several cur- 
tains of this, made to let down from rollers, one after another, 
will give a beautiful, misty, vanishing appearance ; and if 
enough be unrolled, the tableau appears to vanish entirely, 
allowing room for a change of scene, if desired. This gauze 
should be carefully managed, as the disclosure of a ragged 
edge would dispel all the illusion. Many scenes should have 
one thickness before them at first, to prevent too startling dis- 
tinctness ; and some may be concealed entirely by the gauze, 
which is gradually rolled up, until the tableau becomes 
visible. These varieties of effect, however, depend on the 
subjects, and the taste of those who arrange them. 

A number of almost supernatural effects may be procured 
by the aid of a magic latern ; and that instrument will bo 
found quite invaluable to the. amateur theatrical company. 



THE gambler's warning. Ill 

Its use, in getting up tableaux or scenes containing ghosts, 
dreams, or fancies of any kind, is very great. 

These, with a few screens for shading certain figures, are 
about all the appurtenances required for arranging excel- 
lent tableaux which are at all dirncult to procure. The ma- 
terials for all else may be found in almost any house, either 
in the city or country. The tableaux which follow are in- 
tended more to suggest how such things are to be done than 
as models. After two or three of them have been got up, 
careful attention having been paid to the directions, it will 
be an easy matter to invent new ones. The great require- 
ment on the part of the performers is, of course, to remain 
perfectly still — a fea% which may be acquired to a wonderful 
degree by practising before a mirror. Where a large group 
is to hepoted, there is often a tendency to laugh — why, it is 
hard to say ; but this may be overcome by frequent re- 
hearsals. In tact, none but the very simplest tableaux 
should be produced without three rehearsals at least, and 
many require half-a-dozen. 

We need scarcely add, that appropriate music on the piano- 
forte, harp, or other instrument, will add much to the effect 
of any tableaux. 

THE GAMBLER'S WAENIMG. 

At right centre of stage is a table covered with green 
baize, around which six or seven men are sitting, playing at 
cards. At the back of stage is a sideboard with decanter 
and glasses. A negro in a white jacket is standing at side- 
board, pouring some liquor into a tumbler ; near him, and 
leaning against the sideboard, in an easy attitude, is one of 
the gamblers. On the left of stage some gauze should be 
stretched across diagonally, behind which is the figure of a 
woman, with one arm laid across her breast, and the other 
pointing upward. All the figures at the table are intently 
watching the cards, with one exception ; he is standing 



112 



TABLEAUX VIVANTS. 



erect, with an expression, of wonderment and terror upon 
his face, and is looking at figure behind gauze. His left 
hand is resting upon the table ; the right is outstretched, 
holding a card ; two cards are upon the iloor, as though they 
had just fallen from his hand. 

POSITION OF CHARACTERS IX TABLEAU. 
STAGE. 



E. 



a 




2 


^\ 


\4 

1 


6 7 


1 





FRONT OF STAGE. 



1 . The table at which the gamblers are 

sitting. 

2. The sideboard. 

3. Gauze stretched across stage. 



4. Figure behind gauze. 

5. The figure standing erect. 

6. The negro. 

7. Man leaning against sideboard. 



In this tableau the right of stage should be in full light ; 
the left in shadow. A strong soft light should be thrown 
upon the figure behind gauze, which can be made by letting 
the light shine through a globe of clear water. After a few 
moments, a good effect could be obtained by letting a blue 
light fall upon character on left, and a red one upon the 
gamblers. It can easily be done by using colored water in 
the globes. 

The figure behind gauze should be attired in a white robe, 
looking very pale, with a sorrowful expression upon her face. 
The gamblers should be well, but showily dressed, with 
heavy moustaches, otherwise cleanly shaved. The figure 
standing at the table should be neatly dressed, and wearin 
no beard or moustache. 



g 



CAGLIOSTRIO'S MAGIC MIRROR. 113 



CAGLIOSTEO'S MAGIC MIEEOE. 

This tableau illustrates the tradition of the Magic Mir- 
ror possessed by Count Cagliostro, a so-called magician, 
who lived some 'me during the seventeenth century. In 
the present scene, he is supposed to be showing a young 
courtier the image of his lady-love, who is deceased. 

A large frame should be set up in the rear of the stage, 
centre, with a large volume open before it. A lamp, one of 
curious form, if such can be got, stands just behind the vol- 
ume, and across the open pages of the latter a naked sword 
is laid. If a human skull can be had, that also may be 
placed on the. book. 

On the left of frame, in shadow, stands Count Cagliostro, 
pointing towards the vision. On the right, the young no- 
bleman stands in an attitude of fear and wonder. The 
vision is in the centre of the frame, standing just back from 
it, and is represented by a young girl, extremely pale, in a 
long, sweeping, white robe, with her hands crossed upon 
her bosom, and her eyes turned upwards. One or two 
thicknesses of gauze should be stretched over the frame, 
and the vision illuminated by two lights, placed one on each 
side, behind, and concealed by the frame. If curtains can 
be attached to the latter, so as to prevent the light of these 
lamps from falling on anything but the girl, the effect will 
be beautiful. 

The costume of the Count should be a small black cap, 
with a single drooping black feather, a long black cloak or 
robe, with a lace collar turned over it, and ruffles about his 
wrists ; black stockings and knee-breeches, pumps with large 
buckles, and a small sword, complete the dress. His face 
should be rather pale, with a black moustache and heavy 
black eyebrows. His expression should be solemn, and a 
little scornful. 

The young courtier should have a somewhat rich dress. 
A dark coat, with gold lace on the cuffs, collar, and lappels ; 



114 



TABLEAUX VIVANTS. 



light-colored knee-breeches, white stockings, pumps with 
rosettes, a dress sword, lace collar and wristbands, and (if 
possible) a powdered court wig. He may have a slight 
moustache and imperial, but should appear much younger 
than Cagliostro, and should stand more in the light. Direc- 
tions for producing these occasional lights and shades will 
be found in the introduction. 



E 



5 


| 


1 


6 


S 


2 











4 



PHONT OE STAGE. 

1. A large table, upon which the girl who represents the vision, is to stand. 
Upon its front edge the frame is to be rested. 

2. Small stand, covered with dark cloth, supporting book, lamp, sword, etc. 
. Cagliostro. 

4. Courtier. 

5, 6. Curtains stretched from the side of the frame, to conceal. the lamps 
which light up the vision. 

The frame may easily be made of narrow boards, roughly nailed together, 
and covered with black velvet, neatly tacked on. 



)ra, etc. 
e lamps 



THE BUEGLAEY. 



Unlike the above, this scene owes its charm chiefly to 
the picturesqueness of its effects. The scene is a chamber, 
with a bed, right, in which a man is sleeping. Another, 
roughly dressed and closely muffled up, with a hat slouched 
over his eyes, stands over the sleeper, with a knife raised 
above him. The robber should be " made up " in the most 
repulsive manner possible — his face slightly smutted with 



THE BURGLARY. 115 

burnt cork, a black patch, over one eye, a red handkerchief 
loosely knotted about his neck, and his whole appearance 
that of a scoundrel of the lowest class. (See Introduction.) 

In the centre, another burglar is kneeling on one knee in 
front of a trunk, taking from it a variety of articles, some 
of which are scattered about him. Among these, some pieces 
of plate, jewelry, and ornaments of procelain or metal, with 
some blue, green, crimson, or other gay stuffs, will give 
brilliancy to the scene, and should be illuminated by a dark- 
lantern in the hand of the burglar who is examining them. 
A centre-bit, chisel, and pistols, should lie near him, and he 
should be made up similarly to the first. The chamber 
should contain a bureau, dressing-case, etc. ; and a looking- 
glass may be so placed at back of stage as to reflect one of 
the burglars with good effect. 





2 




a 


4 




1 










4. 




3 






- 





FRONT OF STAGE. 

1. Bed, with man asleep. 3. Trunk, •with articles scattered about. 

2. Burglar with knife. 4. Burglar with lantern. 

The light on the stage should be very dim, and unless the 
stage be very large, that of the lantern will be sufficient. 
The burglar at the bed should shade the sleeper, and be only 
in a half-light himself. The one at the chest should have 
his face in full light, and great care should be taken in 
making him up. For low or villainous characters, an addi- 



116 TABLEAUX YIVANTS. 

tional ghastliness may be produced by showing no white of 
shirt or collar, having simply a black or colored handker- 
chief around the throat. A black cloth tied around the 
head, and under the chin, gives a peculiarly horrible effect. 
■ Of course, the sleeper's clothing should be hung upon a 
chair near the bed, and other appointments arranged about 
the stage to give an air of naturalness. 

A single thickness of gauze in front of the scene will add 
to its gloomy air. 

MISCHIEF IN SCHOOL. 

For this tableau the stage should be furnished with desks, 
benches, etc., to resemble a school as nearly as possible. A 
black-board is hung at the back of the stage, in centre, and 



E. 









2 


1 

3 
C. 


5 

4 

10 
8 
9 


11 


12 




7 










6 


i 









FRONT OF STAGE. 

1. Boy at black-board. 8, 9, 10. Boys playing marbles. 

2, 3, 4, 5. Boys looking" on. 11. Boys scuffling. 

6. Boy at desk, pretending to study. 12. Door, with master entering. 

7. Table, with boy in dunce's cap. 

a boy stands on a stool before it, sketching a ridiculous 
caricature of the master. Three or four others stand around 
him, in school-boy position, watching the progress of the 



THE ARMY AND NAVY. 117 

drawing. A desk is placed at right of stage, at which a boy- 
sits, pretending to study, but with his eye fixed on the door, 
left, where the master is seen entering with a long rod in 
his hand, and a grim smile on his face. Two boys are in the 
act of scuffling at the left of stage, concealed from the mas- 
ter by the door. Another stands on a table, near the desk, 
right, with the dunce's cap on his head. Three others are 
playing marbles near the group, centre. 

The diagram on page 116 will explain the positions. 

Some of the boys may be eating apples, cakes, etc., and a 
variety of books, maps, inkstands, rulers, and other school- 
furniture should be scattered about here and there. As the 
interest of the scene depends entirely upon the surprise, but 
little attention need be paid to the effects of light and 
shade, etc., the main object being to have all the groups in 
plain sight, and naturally arranged. 

THE AEMY AND NAVY. 

In the centre of stage the Goddess of Liberty is sitting, 
resting upon her shield, and holding in her hand a pole, on 

POSITION OF CHARACTERS IN TABLEAU. 
STAGE. 




FRONT OF STAGE. 
1. Goddess of Liberty. 2. The Sailor. 3. The Soldier. 

the top of which is the Phrygian cap. On left centre of 



118 TABLEAUX VIVANTS. 

stage, a sailor is standing with the American flag in his 
hand. On the right centre a soldier is standing, also with 
a banner in his hand. The flags are crossed, and their faces 
are turned towards audience. 

In this tableau as much light should be thrown upon the 
stage as possible. The Goddess of Liberty should have bare 
arms, and be arrayed in a loose, flowing, white garment. 
The shield of Liberty can easily be made out of cardboard, 
with the assistance of some blue and red paint. The liberty 
cap can also be made in the same way. With regard to the 
soldier and sailor, we presume that all our readers will be 
enabled to costume them without our assistance. Just be- 
fore the curtain descends, a good effect can be produced by 
igniting some red fire on each side of stage. 

> 
THE DHUNKAKD'S HOME. 

A dilapidated room, with an empty grate, and an empty 
saucepan lying on its side, so that the audience can see the 
interior. In one corner of the room (L.) a bed of straw, 

POSITION OF CHARACTERS IN TABLEAU. 
STAGE. 




FRONT OF STAGE. 

1. The bed of straw, upon which the children are lying. 
2. The wife. 3. The drunkard. 

upon which two children are lying. The elder, a girl, is 
supporting the younger, a boy, and is leaning over him, as 
though she were trying to soothe him and keep him quiet. 



SIGNING THE PLEDGE. 119 

A mother is sitting upon a stool (E. C), holding a baby- 
closely to her breast, with an old worn-out shawl wrapped 
around it. On the right, the drunkard is stretched upon the 
ground, insensible from drink. His clothes are torn and 
muddy ; by his side is an old and battered hat ; in his hand is 
an empty bottle, which he still clutches firmly. The wife is 
gazing upon the husband, with a look of mingled love and 
sorrow. 

Everything is to denote, as much as possible, misery and 
want. The woman to have hollow eyes and sunken cheeks. 
The children upon the straw are to have bare arms, and to 
be " made up," so as to appear wretchedly thin and emaci- 
ated. (See instructions for making up, page 105.) 

To heighten the effect of this tableau, some fine gauze 
might be stretched across the stage, so as to give everything 
a dim and cheerless appearance. In using gauze, care should 
be taken that the whole front of the stage be carefully cov- 
ered, so as not to mar the effect by having a stronger light 
at the bottom, sides, or top, than in the centre. Instructions 
are given in the introduction to tableaux page 110, how the 
gauze can be fixed. 

SIGNING THE PLEDGE. 

The same room as in the Drunkard's Home. In the centre 
of the stage is a stool. The drunkard is kneeling upon one 
knee, with his face towards the audience. He has a pen in 
his hand, and is signing his name to a paper that is upon 

! the stool. His eldest daughter is looking timidly over his 
right shoulder, with her left hand resting upon him. On 
the right of the drunkard is the temperance advocate ; he 
has an ink-horn in his hand, and is looking down, smiling 
benignantly, upon the signer. At the left of centre the wife 
is kneeling down; on one arm she holds her babe, while 

' the other is uplifted toward heaven. Her face is upturned 
also, with an expression of gratitude and happiness upon it. 
The boy has hold of his mother's skirt, and is looking at her 
with wondering eyes. 



120 TABLEAUX VI V ANTS. 



POSITION OF CHARACTERS 


IK TABLEAU. 




STAGE. 






2 
1 




3 


• 


5 
4 



K. 



FRONT OF STAGE. 

1. The drunkard signing pledge. 4. The mother with her babe. 

2. The daughter. 5. The little boy. 

3. The temperance advocate. 

Instead of dropping curtain, for the last tableau, " Drunk- 
ard's Home," some gauze might be let down, gradually in- 
creasing in thickness, till it completely shuts out the tableau 
from audience. "Signing the Pledge" might then be ar- 
ranged, which must be done quickly, but noiselessly ; then 
clear away all the gauze, and have a subdued light fall upon 
the whole group. A good soft light can be obtained by let- 
ting the gas, or lamp, shine through glass globes, containing 
water. The globes, such as are seen in chemist's shop- win- 
dows, can easily be obtained at any druggist's fixture store, 
at a small cost. The above tableau, if arranged and con- 
ducted properly, will have a very pleasing and telling result. 

THE TEMPERANCE HOME. 

A ROOM comfortably, but meanly furnished, with a square 
piece of drugget in centre of stage. A deal table is placed 
on the middle of carpet, upon which are laid some tea-things, 
as though supper was about to be served. At left of stage, 
the husband is standing, with his hat on, and a basket of 
tools at his back, as though he had just come in from work. 
The boy is clutching him round the leg, and looking up into 
his face. The girl is sitting on a chair (R.), nursing the 
baby, and is looking towards her father with a smile of wel- 



THE DUEL. 



121 



come. "The wife is standing by a chair, as though she had 
just risen from it, with her body inclined toward her hus- 
band, one hand is extended and in the other she holds some 
needle-work. 

POSITION 02T CHARACTERS IK TABLEAU. 

STAGE. 







4 




a 




5 






ji 


E. 




2 

















ERONT OF STAGE. 

1. A .piece of drug-get. 4. The wife. 

2. A deal table. 5. The daughter, with baby. 

3. The husband, with boy clinging to his leg. 

In this tableau as much light should be thrown upon the 
stage as possible, so as to give the whole chamber a com- 
fortable and pleasant appearance. 

We presume we need not tell the performers in this tab- 
leau, that all the figures should be economically but neatly 
dressed ; so as to make the illusion greater to the audience, 
with regard to its being the home of a mechanic. 



THE DUEL. 

At the back of stage five or six chairs are piled one on top 
of another. Also at back of stage (L.), a table, upon which 
are some bottles and glasses ; under table a pack of cards is 
scattered. On the left of stage, one of the duellists stands, 
in shirt-sleeves, looking toward left at his opponent, with a 



122 TABLEAUX VIVANTS. 

grim smile upon his countenance. He is wiping his sword 
with a handkerchief, that he holds in his left hand. His 
second has his right hand resting upon the duellist's left arm, 
looking at him with an anxious face, and is pointing off 
with his left hand, as if advising him to fly. On the right 
of stage, a wounded man is lying, in his shirt-sleeves, with 
his head and shoulders supported by his second, who is 
in a kneeling position, and looking at the injured man with 
a terrified expression. By the side of the fallen man is a 
doctor, examining the wound with professional calmness. 
On the backs of some of the chairs, the coats, vests, neck- 
ties, etc., are carelessly thrown. In the centre of stage is a 
sword lying upon the floor. 

POSITION OF CHARAGTERS IN TABLEAU. 
STAGE. 



R. 



1 
7 
6 5 

C. 3 
8 4 



FRONT OF STAGE. 

1. Chairs. 5. The wounded man. 

2. Table. 6. His second. 

3. The duellist wiping his sword. 7. The doctor. 

4. His second. 8. sword. 

In this tableau the lights should be softened as much as 
possible. A fine gauze stretched across stage would add 
much to the appearance of this tableau. The wounded man 



LOYE AND JEALOUSY. 123 

is to be "made up " so as to appear extremely pale and 
ghastly. To heighten the effect, a few drops of blood can 
be seen upon his shirt, which can be easily represented by a 
little crimson lake being smeared upon a piece of rag, and 
pinned upon it. 

LOYE AND JEALOUSY. 

To the right centre of stage, a cavalier, dressed in a slashed 
doublet and jacket, trunk hose, low shoes, with large pink 
rosettes, and a velvet cap and feather. At his side hangs a 
rapier. A guitar, upon which he is playing, is suspended from 
his neck with a blue ribbon. The cavalier wears a small 
moustache, and carries himself jauntily. To the left centre 
of stage, a man, enveloped 'fh a dark cloak, lined with red, 
creeping stealthily towards the cavalier. In his right hand 
is a poniard. A slouched hat, with feather, is to be pulled 
down over "his brow, and a heavy beard and moustache is to 
be worn ; also black stockings and low shoes. "With his left 
arm he is holding the cloak to his face, as though trying to 
disguise his features. 

POSITION OF CHARACTERS IN TABLEAU. 

STAGE. 




FBONT OF STAGE 
1. The cavalier. 2. The man with poniard. 

Stage to be rather dark. The cavalier to be in full light, 
with his back turned toward assassin, who is to be in deep 
shadow. 



124 TABLEAUX VI V ANTS. 



THE MUSIC LESSON. 

The stage for this tableau is arranged like a lady's bou- 
doir, with the usual complement of birds, cages, flower-pots, 
toilet appurtenances, drawing and embroidery materials, etc. 
A sofa is set in the centre, a little back, and a folding screen 
placed zigzag just behind it. On the sofa a young lady is 
seated, holding a guitar listlessly in her left hand, while a 
gentleman, kneeling gracefully before her, is kissing her 
right. He should be so placed, however, as to show his pro- 
file to the audience, as it is in bad taste ever to turn the back 
directly towards the front of the stage. Over the top of the 
screen, immediately behind the young couple, is seen the head 
of another man — the father or guardian of the lady — intently 
regarding her with an expression of comical horrcj; and sur- 
prise. 

STAGE. 



E. 





1 




■ - ' 










[~ 


2 


i 


3 




C. 





FRONT OF STAGE. 

1. The guardian, behind the screen. 2. The sofa, with the young lady. 
3. The gentleman, kneeling. 

Some sheet music should be carelessly scattered about the 
floor and sofa, with the hat and gloves of the gallant teacher 
of music. The young lady should be in an easy, elegant 
position, with her face a little averted, but her eyes turned 
toward her suitor. A little rouge may be effectively used 
upon her cheeks, for producing the blush which is supposed 
to be natural to such occasions. The face of the guardian 
should be carefully " made up " with reference to age and 



THE SEASONS. 125 

expression, with, eyebrows strongly arched, wrinkles, a fero- 
cious moustache, curled up at the ends, etc. 

If conveniences can be had for getting up picturesque and 
elegant costumes, the suitor may be dressed as a cavalier, 
with doublet, belt, lace collar and cuffs, knee-breeches and 
stockings, and a rapier. His hat should then be a wide- 
brimmed black felt, caught up on the left side with a buckle 
and feather, and his gloves should be riding gauntlets. The 
lady should also have a dress in accordance with the styles 
of the middle ages, which may be learned by consulting the 
French prints representing similar scenes, and her hair should 
be drawn straight back from her forehead, and powdered. 
A large white ruffle around the guardian's neck will be in 
keeping, and add to the ludicrousness of his appearance. If, 
however, the resources of the parlor theatrical troupe are 
limited, the costume of the day may. be used. 

In arranging the light, care should be taken to have the 
guardian's face in half-shade, and the strongest light upon 
the lady. Some heavy, dark curtains may be hung at the 
sides of the stage, to bring out the colors of the sofa, the 
lady's dress, etc., and the ornaments and toilet articles should 
be strewn about with an easy graceful negligence. 

THE SEASONS. 

Spring, Summer, Autumn, and "Winter, represented by 
female figures, will, always form a popular and graceful pic- 
ture. This has been already successfully performed in the fol- 
lowing manner : Three platforms are raised on the stage, 
each a little higher than the one in front of it, like the broad 
steps of a staircase receding from the audience. 

Spring is a little child dressed in green, of a light but bril- 
liant tint (the new Malachite shade is best adapted for this). 
She is holding in her hands a basket filled to overflowing 
with beautiful spring flowers, some of which are also lying 
at her feet. She stands in front of the stage nearest the 



126 



TABLEAUX VIVANTS. 



spectators. A single thickness of gauze is* run across in front 
of the first platform, on which stands 

Summer, a young girl just verging on womanhood. She 
is holding an apron of summer fruits mingled with flowers. 
Her dress is white, but trimmed with roses and green leaves, 
with which she is also crowned. Another thickness of gauze 
is stretched behind her, just in front of the platform on 
which Autumn stands. 

STAGE. 



E. 





1 




K 




. n 




2 







3 


u 


I 


4 


i 



FRONT OF STAGE. 

1. The first and highest platform, with Winter. 

2. The second, supporting Autumn. 

3. The third, for Summer. 

4. The figure of Spring. 



5, 5. The first gauze. 

6, 6. The second gauze. 

7, 7. The third gauze. 



Autumn, a smiling matron, in a dress of crimson, crowned 
with corn and poppies. A long branch of the vine, laden 
with grapes, is thrown across her shoulder, and in her arms 
she holds a cornucopia filled with fruits and flowers, a sickle 
and sheaf of grain are at her side. 

Winter stands on the farthest platform. This may be rep- 
resented by a man, who must, however, be made up like an 
old crone, with a wrinkled and sallow face. Her bent and 
stooping form is heavily draped in a robe of dark brown or 
gray woolen stuff. On one shoulder she bears a faggot of 
dry sticks, and in her hand an axe. Her brown garment 
should, over her shoulders (and also on her head), be pow- 
dered with masses of flour to imitate snow, and to complete 



THE BRIGAND'S FAMILY. 127 

the representation, pieces of small glass tubing may bo at- 
tached to the edges and sides of her robe to imitate icicles. 

The gauze screens will shade the figures sufficiently, with- 
out any different degrees of light being thrown upon them. 

THE MUSICIANS. 

A PARTY of young and old people are practising singing 
in parts by candlelight. They are standing round a small 
table, on which is a single candle. In this tableau all other 
lights but this solitary candle should be extinguished, as the 
whole effect produced arises from the shadows thrown on the 
faces by their being placed so much higher than the light. 
For this purpose also a tallow candle is best. The singers 
should be dressed after the costumes met with in the old 
Dutch pictures. The hair of the women drawn tightly back 
under a close stuff cap. The men in dark cloth clothes. 
Every one should assume some slightly different position, but 
the mouths of all should be opened as if in the act of sing- 
ing. This scene, which, if well executed, will recall some 
of the favorite pictures of the old Dutch school, is more par- 
ticularly effective if it succeeds a tableau, in which brilliant 
colors and much light is introduced. 

THE BBIGAND'S FAMILY. 

An Italian peasant woman is seated on a large piece of 
rock, busily examining some jewels taken from a traveller's 
box beside her. At the moment of the tableau she is holding 
up to the admiration of her husband, who is standing lean- 
ing on his gun at some little way off, a long and costly string 
of pearls ; a little child leaning against her lap, with its full 
face to the spectators, is playing with some more beads lying 
on her lap. The woman's face is nearly in profile to the 
audience. She is dressed in the Neapolitan costume. The 
white square-folded head-dress, her long black hair drawn 
off he^face, and dressed in heavy plaits at the back of her 



128 TABLEAUX VIVANTS. 

head, and stuck into these a showy round gold pin. Her 
. skirt is of blue, bound and trimmed with scarlet ; her bodice 
scarlet ; to this she wears no sleeves ; a band of black over 
the shoulder fully displaying her large white chemise sleeve ; 
her feet are bare, as are also the little child's, who wears but 
one short linen garment. The brigand himself is dressed in 
the full costume of the Calabrian peasant — a high peaked 
hat, bound round the crown with colored ribbon, and a flower 
stuck jauntily.cn one side of it ; a short jacket worn over a 
loose shirt, tight pantaloons reaching only a little below the 
knee, leather gaiters cut off at the ankle, and sandals. Two 
other brigands, one of them a youngster of eighteen, the 
other somewhat older, are lying in careless attitudes on the 
ground ; near them is a pack of cards, with which they have 
been playing. This scene should be well lighted, as it is 
supposed to be daylight — the bright daylight of an Italian 
sun. The same characters may also, with some variations of 
position, be represented in a second tableau as watching and 
listening for travellers, lighted up only by a red fire burnt 
in front of the stage. 

THE WITCHES IN MACBETH. 

TABLEAU IN THREE DIVISIONS OR PERIODS. 

PART I. — The curtain draws up and reveals three witches, 
each pointing with the forefinger and bared and skinny 
arms to the cauldron, round which fire is burning and flames 
springing up. The witches should be dressed in long black 
dresses, very high peaked hats, and long staffs in their hands. 
These parts are better performed by men, as they require 
marked and prominent features, or else long false noses must 
be worn. 

Part II. — Hecate and three other witches appear in the 
background, all pointing with the forefinger to the three first 
witches. Hecate and the three newly-arrived witches being 
dressed in long red-brown dresses. 

Part III. — The witches and Hecate all take hands, and 



SONG OF THE BELL. 129 

group in fantastic and wild attitudes round the cauldron as 
if in the act of dancing. Between each of these parts the 
curtain falls and rises, so as to reveal the groups of witches 
in three various attitudes. Thunder should be imitated, as 
well as the shrieks of the night-owl, the mewing of cats, 
&q.j outside the scenes. The overture from the opera of Der 
Freischutz is appropriate music for this tableau. Yery little 
light, except what is produced by the names round the caul- 
dron, is needed. To make the fire, dissolve crystals of nitrate 
of copper in spirits of wine. Light the solution and it will 
burn with a beautiful emerald name. To imitate thunder, 
hold a large sheet of Russian iron at one end and commence 
shaking it very slowly. It will give out a low rumbling 
sound which can gradually be increased in power. Graduate 
the sounds from heavy peals to the first starting point ; then 
discontinue the shaking for a few seconds and repeat the 
variety of changes as long as it is necessary. 

A SERIES OF TABLEAUX VIVANTS, ILLUSTRAT- 
ING SCHILLER'S " SONG OF THE BELL. r 

In the early part of the year 1852 an extensive fire broke 
out in the town of Trauenstein, in Bavaria. Its effects were 
most disastrous, spreading rapidly among the wood-built 
houses, until nearly half the town was consumed, and its 
unfortunate inhabitants left exposed to all the inclemencies 
of a tardy Bavarin spring, without clothes or shelter. As 
soon as the news of the calamity reached the capital, the 
King of Bavaria and many of the principal nobility and 
gentlemen of Munich started for the scene of suffering, and 
by the prompt distribution of money, food, and raiment, did 
all that could be done at the moment to alleviate the distress 
of so many homeless beings. The king himself saved, by 
his judicious orders on the spot, the remainder of the town, 
causing houses to be razed in the quarters the fire seemed 
most likely to spread in, and by his calm and collected pres- 
ence inciting the panic-stricken inhabitants to fresh exer- 



130 TABLEAUX VIVANTS. 

tions. The wealthy and compassionate in Munich hastened 
to forward their subscriptions and contributions. Extensive, 
however, as these were, the king on his return pronounced 
them still inadequate, und he, with the queen, united in 
calling on the ladies and gentlemen of his court — at that 
moment celebrating the carnival in Munich — to turn their 
talents, and even their amusements, to good account for the 
unhappy sufferers at Trauenstein. After some little deliber- 
ation, it was determined that a series of tableaux vivants should 
be prepared. The respectable public were to be admitted 
by paid tickets, obtained from one or other of the lady pat- 
ronesses. Two representations were decided upon : the first 
being in the light of a dress rehearsal, 'the moderate sum of 
a florin was only demanded. This representation was 
crowded by the tradespeople and bourgeoisie of the town. 
The second evening, the king, queen, and court, with all 
that was great and gay in Munich, graced the tableaux as 
spectators, the tickets being nominally raised to two florins. 
As they became scarcer, however, the price rose again, and 
an English family stopping for a few days at one of the 
hotels in Munich had to pay, it was said, as much as ten 
florins each for their tickets ; a price considered extortionate 
by many of the Germans, but which the fair lady patroness 
who sold the tickets considered herself quite justified in de- 
manding from " those rich English" in the cause of charity. 
Duke Maximilian, of Bavaria, placed the private theatre in 
his palace at the disposal of the performers, who were se- 
lected from amongst the noblest of the Bavarian families, 
or from the various members of the foreign corps diplomatique 
then resident at Munich ; chosen, of course, chiefly for their 
personal attractions. Three young English girls also assist- 
ed in the performances, and well sustained Englishwomen's 
pretensions to the necessary qualifications. The director 
of the royal theatre lent his valuable services, and superin- 
tended the getting up of the scenery and accessories ; whilst 
three of the first artists in Munich undertook to arrange 
the grouping, costumes and lighting up of the tableaux. The 



SONG OF THE BELLS. 131 

cousin of the Emperor of the French (Count Charles T- 



de la P ) was made stage manager ; and, finally, the 

subject selected was Schiller's "beautiful and popular poem, 
the " Song of the Bell." 'Nine tableaux vivants were to illus- 
trate this, ushered in by the introductory scene of the bell- 
casting. We will pass lightly over the preliminary prepar- 
ations, the several rehearsals, before all was deemed complete 
and perfect, merely hinting that, in spite of the charitable 
object of the performance, the assembling together of so 
many various elements was not free from the usual amount 
of heart-burnings and discontent amongst those who deemed 
their pretensions to beauty and grace entitled them to the 
most prominent positions. Before the last rehearsal these 
feelings were all calmed down by the artists' inflexible de- 
crees on the subject, or by the discontented withdrawing 
their services ; and much amiability, on the other hand, was 
displayed by one or two of the "grande dames" placing 
their costly wardrobes at the disposal of their poorer sisters 
for the occasion. Beauty is not always presuming and pre- 
tentious, for the most graceful and brilliant of the company, 
the beautiful and high-born Countess de B , was as con- 
spicuous for her generosity and amiability on the occassion 
as for the rare personal attractions which adorned the tab- 
leaux. When the eventful day arrived, the green-room pre- 
sented a strange medley of costumes. Obedient to the 
drawings given them by the artists, the performers had to 
make their costumes their own particular charge. The 
awkward fashion of men's costume in the present day ne- 
cessitated the choice of a period when their habiliments in 
particular were richer and more shapely. The period of the 
reign of Francis L, of France, was decided on. Clad in rich 
velvet stuffs and tight hose, the men looked bravely, whilst 
it also afforded an opportunity to the ladies of displaying, 
on their square-cut bodices, the blaze of magnificent hered- 
itary jewels for which the Bavarian families are famous. 
The artists were the critics and approvers, giving a hint 
here, entreating some little change from another ; and our 



132 TABLEAUX YIVANTS. 

English readers will be glad to hear that, amongst the 
most correct copies of the period given, the costumes of 
their countrywomen were conspicuous. Much amusement 
amongst the actors and actresses was created by the stage 
manager arrogating to himself the part of rouge applier ; it 
being found that in the strong glare of theatrical light a 
more than ordinary amount of red paint was necessary to 
prevent the dangers of a ghastly appearance to those who 
impersonated youth and health. Eehind the scenes, how- 
ever, such glaring colors were not appreciated by the fair 

performers, so as fast as the Count T applied the color, 

he detected some quiet rubbing down not approved of. At 
last, however, all is ready, the signal bell rings, the perfor- 
mers in silence take their places, well rehearsed before-hand, 
and the curtain rises, displaying the introductory tableaux 
of— 

THE FOUNDRY. 

Dimly seen by the red uncertain light of the furnaces 
are the tall powerful forms of the workmen, in their leath- 
ern aprons and bared arms, anxiously watching the heating 
of the metal until the critical moment shall arrive when it 
will be ready to now into the mould prepared to receive it. 

THE BELL. 

Nothing could be more effective than the grouping, color- 
ing, and light, of this Rembrant-like tableau, which seemed 
to give a living interest and force to the words of the poet^ 
uttered by the full, deep voice of the young nobleman, who, 
enacting the master or foreman, was heard addressing his 

companions 

"Fest gemanet in der Erde," &c. 

For the benefit of our readers, we shall give the translation 
of the recitation. 

" Firmly bound, the mould of clay 
In its dungeon walls doth stand ; 
Born must be the bell to-day, 

Comrades, haste, now be at hand ! 



SONG OF THE BELL. 133 

From the brow of all 
Must the sweat-drop fall. 
If in his work the master live, 
The blessing God alone can give. 
***** 

"Wood cut from the pine-tree take. 
But well seasoned let it be ; 
That the flames compressed may break 
Through the cauldron's molten sea ; 
Boil the copper within, 
Quick bring hither the tin ; 
That the bell's tough metal may 
Smoothly flow, in truest way." 

Here the voice of the master ceased for a while, and logs 
of wood were thrust into the furnace, making the sparks 
fly brightly out, whilst the fire burnt hot and fresh, casting 
through the dark chamber its reflections on the master and 
workmen. And now the head workman comes forward and 
takes up theme : 

" What in earth's deep and hidden cell 
The hand with fire's help doth speed 
Will in the steeple's belfry dwell, 

And loudly witness of our deed v 
In many an ear its thrilling tale 

'Twill pour, nor heed the flight of time ; 
'Twill with the child of sorrow wail, • 

And join devotion's choral chime. 

" Whate'er unto the earth-born crowd 
The frown or smile of fortune bring, 
The metal tongue proclaims it loud, 
While far those cheering accents ring. 

* * 5f£ * * 

With festive, joyous accents rife 

It greets the well-beloved child, 
Launched on its first career of life, 

In slumber's arm so sweet and mild. " 

As the voice of the workman concluded, uttering these last 



134 TABLEAUX VIVANTS. 

words, a strain of soft music arose. Slowly a curtain at the 
back of the foundry drew lip, revealing the pictured scene 
just described in the poet's words. A long, winding, chris- 
tening procession, in the picturesque costumes of the mid- 
dle ages, is approaching the church door. The parents lead 
the way ; the mother's head is turned back to gaze at the 
infant, lying in the nurse's arms, followed by the sponsors, ' 
relatives, and friends. It was easy to detect the artistic feel- 
ing which had placed a lovely boy of about eight years old 
leaning in a graceful attitude against the door of the church, 
apparently watching the procession advance. This child, 
the only son of Count B— : — m, -was one of the ornaments 
of this and the successive tableaux. Three times the cur- 
tain rose and fell, the workmen of the foundry, in front of 
the stage, drawing off to each side, so as not to interfere 
with the mute and motionless tableau which, formed such a 
brilliant contrast, in light and coloring, to the foundry. 
As the curtain fell for the last time on this, the first tableau, 
the music ceased, and the master's voice was again heard : 

" See the silver bubbles now ! 

Good ! the molten billows swell ! 
Potash in the furnace throw, 
For it speeds the casting well. 
And from scoria free 
Must the mixture be, 
That its voice may, full and clear, 
Wake the echoes of the sphere." 

The workmen, after obeying the master's orders, wait and 
watch again, listening anew to*the foreman, who resumes : 

" Where gentleness with strength we find, 
The tender with the stern combined, 
The harmony is sweet and strong ; 
Then prove, e'er wedlock's wreath be twined, 
If heart to heart its fetters bind ; 
Illusion's sweet repentance long. 
Sweetly, in the bridal locks, 



SONG OF THE BELL. 135 

Smiles the virgin wreath of green.* 
When the mellow church bell rocks, 
Bidding to the festive scene." 

Here again, as the workman's voice paused, the curtain 
behind the foundry was raised, and before the altar in the 
tableau were seen kneeling the bride and bridegroom, with 
the assembled guests. The bride was the young and inno- 
cent-looking Countess S — m — , and distinguished among 
the bridesmaids and guests were the two English girls 
already referred to. [Nothing could be more brilliant than 
the whole picture, the rich white satin dress of the bride 
giving prominence to her figure against the dark and richly- 
slashed velvet dresses surrounding her. After three exhibi- 
tions of this tableau to the spectators the curtain fell, and 
the work of the foundry was resumed. The master's voice 
being again heard : 

" Lo, the pipe's already brown! 
I will dip this wand therein, 
Doth a glaze the surface crown, 
We the casting may begin $ 

Quick, amid the glow, 
Test the medley's now. 
See, if with a goodly sign, 
Soft and brittle doth combine/' 

The proving over, the workman's voice is again heard re- 
citing : 

" Then boundless in torrents comes pouring the gift, 
The garners o'erflow with the costliest thrift ; 
The store-rooms increase, the mansions expand. 
Within it reigns 
- The prudent wife, 
The tender mother ; 
In wisdom's ways 
Her house she sways ; 

* In Germany it is customary lor a bride to wear a green instead of a white 
wreath. 



136 TABLEAUX VIYANTS. 

Instructeth the girls, 
Controlleth the boys ; 
With diligent hands 
She works and commands ; 
Increases the gains, 
And order maintains.' 1 

He pauses, and the curtain is again raised behind the 
foundry, accompanied always by soft music, and displaying 
a young mother at her spinning-wheel, surrounded by her 
children prettily grouped with their toys. One boy is, how- 
ever, raising his whip to strike his companion ; the mother's 
hand has arrested the wheel for a moment that she may raise 
the other in an attitude of correction towards the culprit. 
The eldest girl is hanging caressingly over the back of the 
mother's chair, watching and learning to perform the moth- 
er's task. This tableau was particularly touching to the 
hearts of the German bourgeoisie, and they entreated an 
additional repetition of it. At last, the curtain falling again, 
the master recites : 

" Good ! now may the cast begin. 

Firm the fracture is and fair ! 

But, before we run it in, 

Offer up a fervent prayer ! 

Loose the spigot, loose ! ' 

God preserve the house! 

Smoking in the hollow cave, 

Hushes forth the glowing wave." 

When the workmen have obeyed the master's voice and 
pause again, the workman is once more heard reciting : 

" How genial is fire's might, 
When tamed and watched by man aright ! 
Whate'er he forms, or shapes, its source 
He owes to this celestial force. 
But fearful this celestial force, 
When bursting forth in madden' d course, 
Unshackled on its path so wild, 
It rushes, Nature's free-born child 



SONG OF THE BELL. 137 

Woe. when bursting fortli it flies, 

Spreading with unbridled ire, 
In the busy street arise 

Mountain waves of raging fire ! 
For the elements despise 

Wealth that human hands acquire. 

" From the cloud 
Blessings rush, 
Waters gush ; 
Where it listeth, iight'ning flashes, 
Thunder crashes ! 

" Hear ye that wail from yon tower's walls ? 
The tocsin calls ! 
Red as blood 
Glow the skies ! 
That is not daylight's flood ! 
Hark ! what cries 
In street and square 
Clouds uptear ! 

" Surging upwards higher, higher, 
Through the streets the pillared fire 
Rushes with the whirlwind's ire ! 
Like the blast in furnace pent 
Glows the air, now beams are rent, 
Windows rattle, rafters creak, 
Mothers wonder, children shriek, 

And cattle low 

Mid ruin's glow ! 

" They run, they save, rush to and fro, 
The night vies with the daylight's glow ! 
As the zealous chain expands 
Through the hands 
Flies the bucket ; arching o'er, 
Streams the jet, the torrents pour. 
Then the storm, 'mid howl and roar, 
With the raging flames dispute, 



138 TABLEAUX YIVANTS. 

Crackling 'mid the grain and fruit ; 

Through the garner's space they gleam, 

Seize the dry and massive beam ; 

And as though they in their flight 
Would the earth-ball with them tear, 
Upwards sweeping through the air, 

Surge they to the heaven's height, 
With giant scope ! 
Deprived of hope, 

Man submits as he surveys, 

Wond'ring with an idle gaze, 

What the hand of God has done." 

Hardly had the reciter's voice concluded this wondrous 
description of a fire, recalling all the sorrows of their un- 
fortunate brethern at Trauenstein, when the curtain behind 
the foundry was drawn swiftly up, and there before the 
spectators was the scene realized : a glaring red light il- 
lumined the agonized faces of the townsfolk, watching the 
fearful progress of the destructive element. Against the 
burning house a ladder had been placed, and the moment 
of the tableau was that when a beautiful young boy, with- 
out any other covering but his child's shirt, was being car- 
ried in the arms of a young man down the ladder. On her 
knees in the street was the agonized and prayerful mother, 
the red flames from the house casting strong reflections on 
her face and on those of the townsfolk grouped around her. 
This tableau produced a stirring effect on the feelings of the 
spectators on the night of the court representation ; the 
murmur of applause was increased by the royal party giving 
the signal for the expression of satisfaction and admiration, 
and the applause was long and repeated. The curtain fell 
over it at last, and once more the audience were illumined 
only by the fitful light from the foundry. And the master's 
voice was again heard : 

" In the earth it is received i 
% With success the mould we fill ; 

Will the work, when 'tis achieved, 






SONG OF THE BELL. 139 

Recompense our toil and skill 1 
^ If the cast should break 7 
If the mould be weak 1 
Alas ! while hope still cheers us on, 
Perhaps fell mischief's done." 

Then the workman takes up the strain from the master : 

^ u From the steeple 
Tolls the bell, 
Deep and sadly, 
Death's last knell, 
The mournful dirge peals from the lofty dome, 
To guide a wand'rer to his last long home. 
'Tis the wife, the well-beloved one, 
'Tis, alas ! the faithful mother, 
Whom the prince of shadows chases 
From her husband's fond embraces, 
From her children in their bloom." 

The curtain drew slowly up, and revealed a mournful 
party clothed in black. A father, with his children grouped 
around, mourning their mother. This scene, which formed 
to artistic eyes a good contrast to the glowing colors hitherto 
displayed, was nevertheless painful and therefore dismissed in 
silence by the spectators. It was not long before the voice 
of the master again broke the silence with 

" Till the bell can cool away, 
Let us leave our toil a while. 
As the feathered songsters play, 
So may each his time beguile. 
When the stars appear, 
Free from care and fear, 
The workman hears the vesper bell, 
The master cannot care dispel." 

Then the workman's voice continued : 

" Cheerful through the forest's gloom 
Wends the wanderer his steps 
Back to his dear cottage home ; 



140 TABLEAUX VIVANTS. 

Through the gate 

Reels the wain ; 

'Neath the grain * 

On the sheaves, ( 

With their many-colored leaves, 

Garlands lie ; 
To the dance the jocund reapers 

Jocund hie." 

The curtain again drew up revealing a most graceful pic- 
ture. Peasant girls and men, surrounded by corn sheaves, 
were in the various attitudes of dancing. Two graceful fig- 
ures in the foreground were prominent in beauty. One, a 
young peasant woman, arrayed in brilliant colors, was hold- 
ing up in her hands, high above her head, a bunch of grapes, 
the long sweeping tendrils of which had woven themselves 
round her head and form. Standirig behind her was a 
youthful father, holding up a child to snatch, the proffered 
bunch of grapes. The beauty of the mother, represented 

by the wife of the Count Charles T , and the charmingly 

natural attitude of the father and child was the admiration 
of all ; and this tableau coming after the scene of mourning 
dazzled the eyes of all by its gayety and brightness. When 
the curtain dropped again, the master resumed the work at 
the furnace, saying : — 

" Break asunder now the mould, 

For its work is done at last ; 

Let both heart and eye behold 

Proudly the successful cast ! 

Wield the hammer, wield, . - 

Till it split the shield ! 
Before the bell can rise on high, 
The mantle must in pieces fly." 

The workman follows up the master's pause, saying : 

" Now freedom's cry is heard around, 
"The peaceful burghers fly to arms ; 
The streets fill fast, the halls resound, 



I 



SONG OF THE BELL. 141 

And murd'rous bands spread dire alarms. 
Woe, when within the city's wall, 

The smould'ring sparks in silence bnrn ; 
The people, bursting from their thrall, 

To savage wilfulness return ; 
Then rocks the bell upon its throne 

And howls on high ; rebellion calls ; 
And vow'd but to a peaceful tone, 

The signal gives for savage brawls." 



Here the curtain again drew up, showing the street of a 
town. On the ground was the wounded and prostrate figure 
of an armed man ; between him and the pursuers, threaten- 
ing with spears, swords, and battle-axes, a beautiful but 
shrinking woman had thrown herself, shielding with her 
own body that of her dying lover ; one hand was raised, 
and her supplicating face was turned towards the murderous 
tribe, levelling their weapons against the fallen man. 

As the curtain fell, the master resumed his recitation : 

" God hath filled me with delight ! 

Like a golden star, behold ! 
Like a kernel, smooth and bright, 

Peels the metal from the mould ! 

How the whole doth gleam 

Like the sunny beam ! 
And in the escutcheon's shield 
Is a master's hand revealed. 

Come in, come in ! 
Stand, comrades, round, and lend your aid 
To christen, now, the bell we've made. 
Concordia her name shall be ! 
In bonds of peace and concord may her peal 
Unite the loving congregation's zeal." 

Again the curtain rose — the triumphant music almost 
drowning the speaker's voice. 

The final tableau displayed the bell itself, " Concordia " 
written on its side, whilst grouped around it were all the 



142 TABLEAUX VIVANTS. 

principal figures of the various tableaux. Soon, again, the 
music slackened and paused, allowing the master's voice to 
be heard for the last time : 

" "With the power of the cable 

Raise the bell from out the ground, 

That to mount it may be able 
Up to heaven's realm of sound. 

Pull, comrades, rise ! 

See, she moves, she sways ! 

O'er our town let gladness reign, 

Peace, be this her first refrain." 

Whilst uttering this final verse, the bell was slowly drawn 
up to the roof of the theatre, supported at its first move- 
ment by the hands of all the fair bevy of performers. When 
it was seen no more, the curtain fell. The king and queen 
were graciously pleased to send a message to the performers 
expressive of their enjoyment of the evening's entertain- 
ment, and their satisfaction that the appeal made to the 
ladies and gentlemen of the court, in aid of the charitable 
mission, had been so completely and successfully responded 
to. Several thousand florins were in this manner collected 
for the inhabitants of Trauenstein ; and the artists of Mu- 
nich were so entirely satisfied with the tableaux vivants, 
that a series of engravings by Eetzsch, illustrating the 
" Song of the Bell," and drawn from the " living pictures," 
prepetuated in Germany the evening's amusement. 

We have given this little sketch, written by an eye-witness, 
without any curtailment, believing it will be interesting to 
our readers, and of service in suggesting plans and ideas 
when a series of tableaux illustrating any poem or subject 
is desired. We trust, also, that the persual of the above may 
incite our youthful readers sometimes to turn their talents 
and amusements to profit in the cause of charity as success- 
fully as the ladies of Munich. 



SHADOW ACTS AND PANTOMIMES. 143 



SHADOW ACTS AND PANTOMIMES. 

Of all the various methods which have been devised for 
furnishing an amusing entertainment, there is, probably, 
none which so strongly recommends itself for its simplicity, 
its scope for originality and for genuine fun, as the Shadow 
Pantomime. To the uninitiated, the effects produced are 
startling ; and to all, if properly managed, ludicrous in the 
extreme. 

In the arrangement of tableaux, it has been seen that 
their effect is mainly dependent upon the judicious and 
artistic blending of colors, the expression of the countenance, 
and the graceful positions of the parties representing them. 
In this, color is of no consequence, and facial expression is 
confined entirely to the profile. 

The first thing requisite is a white curtain or sheet to re- 
ceive the shadows. Where there is already a stage and. drop 
curtain, the white sheet is arranged as an extra drop, care 
being taken to have it hang as tightly and as free from in- 
equalities as possible, and the larger the better. In adapt- 
ing the exhibition to a parlor entertainment, the white sheet 
can be stretched on a frame made to fit exactly between slid- 
ing or folding doors ; before stretching the sheet, it should 
be thoroughly and uniformly wetted, and then wrung out — 
this insures sharpness of outline to the shadows. 

The front, or that side of the sheet appropriated to the au- 
dience, must, during the performance, be entirely dark — and 
on the stage, or behind the sheet, where the performers are, 
only one bright, steady light ; this must be arranged so as 
to be as near to the ground as possible, and exactly opposite 
the centre of the sheet. For parlor purposes, where there 
is gas in the room, the best contrivance is a drop light, whoso 
burner (a good large one) is not more than two or three 
inches from the ground, and placed so as to present the thin 



144 SHADOW ACTS AND PANTOMIMES. 

edge (not the flat) of tlie flame to the curtain ; this will ren- 
der the outlines all the more distinct and clearly defined. If 
gas is not to be had, the next best is a tin cup filled with 
tallow, in the centre of which is a cotton wick secured by a 
wire coil soldered into the middle of the inside of the cup, 
to prevent the wick from falling down when the tallow has 
melted. This tin lamp had better be placed in the centre of 
a flat dish full of sand, as a precaution against accident. 

"Where the curtain is large, the light should be placed at a 
distance of about five or six feet from it ; but a small cur- 
tain requires the light to be Wo or three feet further away. 
The distance can be best ascertained by experiment. If 
there should be no means of closing the sheet after or in the 
intervals of a performance, there should be a light placed on 
each side, behind the curtain, in such a position that no 
shadow can be thrown by it, and the centre light extin- 
guished, or effectually shaded by placing some solid object 
close in front of it. 

During the performance, care must be taken that those 
persons whose shadows are not for the moment needed, should 
stand behind the light. An entrance or exit is effected by 
jumping lightly, or stepping, sideways, over the light. This 
produces an effect on the curtain just as if the shadow had 
dropped down from or gone up into the ceiling. As profile 
is essential, the side and not the front or back, should, as far 
as practicable, be presented to the light ; and, in using tables 
or chairs, let them be placed close to, but not touching, the 
curtain ; the nearer the curtain, the clearer the shadow. 

In order to bring any article on a table clearly into shad- 
ow, it must be placed at the edge of the table nearest the 
light, otherwise the shadow of the top of the table will ob- 
scure the shadow of the lower part of the object ; the table, 
therefore, for general purposes, should not be too wide, and 
may be just as well a strip of board, from two to three feet 
long, and'eight inches to a foot wide, nailed on to four strips 
of wood for legs. 

An amusing deception can be practised with small objects, 



SHADOW ACTS AND PANTOMIMES. 145 

such as cups and saucers, &c, by first placing them at the 
©dge furthest from the light, where they will be out of shad- 
ow, and by fastening a string to them (which can be done 
with a piece of shoemaker's wax) and carrying the end over 
the edge and down the leg nearest the light, through a small 
eyelet at the bottom of the leg, and so along the ground to 
the back of the light. By this means the objects can be 
drawn across to the edge nearest the light, and they will ap- 
pear to rise up out of the table. By reversing the arrange- 
ment they can be drawn back again, and appear to sink down 
into the table. For this purpose the table should be a little 
wider than that ordinarily used. 

These, as well as all other minor arrangements will require 
careful practice and rehearsal before performance, as any 
bungling will not only destroy the effect dependent on that 
particular attempt, but may seriously mar the illusion of an 
entire representation. 

Sign-boards can be made out of a strip of card-board, or 
very stout paper (the letters being cut out), and then pinned 
onto the back of the curtain. Many scenic effects can be 
made in this way ; for instance : to make a false nose, cut a 
piece of pasteboard to the required shape, and split open the 
back edge-sumciently to allow the real nose to be inserted ; 
it can be fixed securely either by strings attached to each 
side and tied behind the head, or by gumming on with mu- 
cilage. The latter plan is the best, as it admits of the nose 
being apparently pulled off. When this is done, the performer 
who loses his nose should have his hand full of sawdust, and, 
at the moment the false nose is removed, bring that hand up 
in time to prevent the shadow of his own nose appearing on 
the curtain ; then leaning his head forward, and letting the 
sawdust drop gently (in little gushes as it were), the blood 
will seem to drop down, and call forth manifestations of deep 
emotion (or high delight) from a sympathizing audience. 
Sawdust is the best thing to represent liquid in the act of 
pouring ; but if the orifice be small, as in the case of a cof- 



146 SHADOW ACTS AND PANTOMIMES. 

fee-pot, &c., it will be apt to choke up the spout, and sand, 
thoroughly dried, will be found preferable. 

Erom these few hints and directions, it will be seen what 
marvellous and laughable effects may be produced by the 
exercise of a little ingenuity and sufficient practice. Too 
much stress cannot be laid on thorough rehearsal ; everything 
should be tried over again and again, until perfectly accom- 
plished. Care should also be taken that the acts, or separate 
pieces performed during an exhibition, be as distinct in de- 
tails as possible, so as not to allow the effects produced in any 
one of them to be repeated in any other ; everybody knows 
how much any deception loses by repetition, and a per- 
former, led away on the spur of the moment, by a spirit 
brimful of fun, is very apt to introduce, as ".gags," the very 
points on which the success of some other piece greatly de- 
pends. 

A few pantomimes and speaking scenes will be introduced 
here which will not only provide sufficient materials for a. 
full evening's entertainment, but will suggest the means of 
adapting almost any amusing piece to the shadow curtain. 
With each piece thorough directions will be found, which, 
closely followed and properly managed, are amply sufficient 
for its successful performance. 

It is scarcely necessary to introduce any specimens of tab- 
leaux in connection with the shadow pantomime. It is not 
particularly well adapted to that kind of exhibition, as the 
effects dependent on grouping, as well as the graceful folds 
of drapery, cannot be given. 

Poses plastiques, or imitations of statuary, including two 
or three figures only, may be made pretty effective, especially 
if a sudden and simultaneous change of attitude be accom- 
plished, at a given signal. 

The stage directions, Right, Left, &c, should be understood 
to refer to the right or left side of the stage as seen by a 
performer facing the audience. 



THE HUNGRY CHINAMAN. 147 



THE HUNGBY CHINAMAN. 

A PANTOMIME. 

■ Chinaman — Hungry and moneyless •, in search of a meal. 
Restaurant Keeper — With a very mixed bill of fare. 
.Waiter — Too active to wait long. 
Carpenter — With such a saw as you never did see-saw. 

Costumes. — Chinaman — This part should be sustained by a very thin 
person dressed in tight drawers ; short sack coat, with short, wide 
sleeves ; Chinese cap, with brim turned up all round ; a long pig- 
tail bach of head ; long moustache, hanging down about a foot, 
made of soft cord ; and, if possible, short thick shoes, in Chinese 
style ; a piece of putty stuck on the tip of his nose, so as to make 
, a handsome pug (if naturally so gifted, omit the putty), and high 
cheek bones, made with the same material, will add greatly to the 
Celestial make-up of his appearance. The Restaurant Keep- 
er should be portly, or be padded to appear so, and should wear an 
apron in addition to a plain Chinese costume ; he must have no 
hat, but wear his hair smooth on his head, with pigtail and mous- 
tache. The Waiter is best Represented by a long, thin-legged per- 
son, who can take a long stride, and wear neither coat nor hat ; a 
short apron will complete his costume ; his head got up as ludicrous- 
ly as possible, and in Chinese style. The Carpenter need be dis- 
tinguished only by a square paper cap, and must be provided with 
a large pasteboard saw, with large teeth. 

Scene. — The rigid edge of curtain should be trimmed with Chinese cor- 
nices similar to the side of a pagoda ; and from the upper part a 
swinging sign, with the words, Restatjrant — No Trust, cut in 
it ; this can all be done by cutting the required shapes out of stout 
paper, and pinning them on the curtain. 



148 SHADOW ACTS AND PANTOMIMES. 

Chinaman, {enters over light.) Staggering with weakness 
from extreme hunger, manifested by pressing both hands on 
stomach, pointing with finger repeatedly to open mouth, 
and sadly shaking the head and waving the hands. In the 
course of his agonies, he catches sight of the restaurant sign, 
and goes through action of delight, cutting capers, throw- 
ing up and catching his hat, etc., at last summons Res- 
taurant Keeper, by stamping twice with foot and majes- 
tically beckoning with one arm, then stands with folded 
arms, waiting. 

Restaurant Keeper, (enter right.) Obsequiously bowing 
and rubbing his hands one over the other. 

Chinaman demands food, (stamps twice and points with 
finger to open mouth), and then points with hand (off right), 
as if instructing him to go and fetch something to eat. 

Restaurant Keeper unrolls a long bill of fare, pointing 
to the different articles on it, as if for the Chinaman to se- 
lect to his taste. ( The bill of fare is a strip of strong paper, six 
inches wide and three feet long, with different designs cut out in 
succession ; for instance ; a string of four or Jive sausages, a frog, 
a fowl, a pig, a nice pair of rats, "a snake, a cat, a dog, half a 
dozen eggs, and as much as will fill the paper in length, of such 
humorous objects as the fancy may suggest.) 

Chinaman" selects a great variety, and exhibits signs of 
impatience. 

Restaurant Keeper turns ip go (off right), and receives 
an additional impetus from Chinaman's best leg foremost. 

Chinaman continues to manifest severe internal pangs of 
hunger, pointing to open mouth, and rolling on the ground 
on his stomach, and a variety of other contortions. (This 
should be the result of caref id practice, as the shadow can be made to 
assume most ludicrous and impossible positions, if ingenuity be exer- 
cised). 

Waiter (enters right), empty handed, and is received with 
a fury of impatience by 'Chinaman, who finally chases him 
off the stage (left), follows him, and both reappear immedi- 
ately (over light) in flight and -pursuit, and the Waiter escapes 



THE HUNGRY CHIKAMAN. 149 

Chinaman exhausted, puffs and blows, snaking fist (off 
right), and finally sits down, squatting {I' ft of stage, facing 
right). ■ 

Waiter {enters right), with a basket full of the articles 
{cut out of pasteboard) Chinaman has ordered,* and sets it 
down in front of him. 

Chixaman, in delightful anticipation, signs impatiently 
to Waiter to hand over the food quickly, and receives one 
by one, a large number of objects from the Waiter, which he, 
with great ostentation, swallows, rubbing himself down the 
breast and showing signs of extreme delight. [The act of 
swallowing is accomplished by passing the object just behind the shadow 
of the open mouth, and letting it drop down at the side of the per- 
former, where it can remain fiat on the ground, and may be used 
ov?r and over again, at the option of performer.) At last he comes 
to a big rat, which he holds up by the end of its long tail. 
At this rather less delicate morsel he hesitates ; measures his 
open mouth with his fingers, and compares with size of rat. 
After some doubt, he crams it (apparently) down, but before 
he lets go of its tail (the only part now visible) he chokes, 
and tries to eject it, seemingly tugging at the tail to get 
it out, in which, after a protracted struggle, he succeeds, 
and shows symptoms of great relief; after viewing it a mo- 
ment, he again attempts to swallow it (having first bent it 
a trifle so as to make its shadow a degree thinner), and 
manages to worry it down. (During this time, the performer 
must manage to stuff out the front of his drawers with a cloth, pre- 
viously, laid flat on the ground, so that iche?i he gets up, his insides 
will appear to have benefited by his varied repast.) He now gets 
up, throws basket (over light), and then kicks Waiter (over 
light), and dances around, delighted to find that his stomach 
is in better condition. 

Eestauraxt Keeper, (enters right) and goes through 
business of complimenting him on his improved appearance, 
concluding with politely requesting his money, handing 
Chinaman a card with §12 (cut out) on it. 

Chln*AMAN as politely receives it and gracefully bows Res- 



150 SHADOW ACTS AND PANTOMIMES. 

taurant Keeper out. (Exit Restaurant Keeper, right. ) He then 
regards the card with astonishment, pulls both pockets inside 
out, feels all over himself, looks in hfs shoes — can't find a cent ; 
first appears greatly troubled, then stands in attitude of 
deep thought (left hand on right elbow, head lent down a little, 
and right forefinger tapping forehead). 

Restaurant Keeper (enters right), demands his money, 
(holds out left hand, palm upwards, and taps it with bach of fin- ■ 
gers of right hand, also palm upwards). 

Chinaman conveys him the information that he has none. 

Restaurant Keeper indignantly and peremptorily de- 
mands it, working himself up into a passion, threatening 
Chinaman. 

Chinaman falls on his knees and begs to be spared. 

Restaurant Keeper won't hear of it — calls (claps his 
hands three times) for Waiter, who enters (over light) and orders 
him to fetch the carpenter — (points upward and goes through mo- 
tions of sawing). Exit Waiter (over light), returning immedi- 
ately (same way) with carpenter. 

Restaurant Keeper signs to carpenter that Chinaman 
has eaten till his stomach has swelled, and then won't pay, 
and explains by signs that he wants carpenter to cut him 
open, in order to get his food back again. 

Chinaman, horror-stricken, implores for mercy, but can 
make no impression on the obdurate Restaurant Keeper, and 
finally tragically faints (centre of stage) from terror. 

Carpenter with a great deal of preparation and fuss, 
with the assistance of Waiter, who holds Chinaman's legs 
down, commences to saw him open, longitudinally of course, 
the Restaurant Keeper gazing with folded arms. 

Positions. — Chinaman laying full length on ground, centre head to 
right. Waiter left, kneeling, with hands on Chinaman 's feet. 
Carpenter right, ivithleft hand on Chinaman 1 s forehead, holding h<s 
head down. Saw in right hand, going through motion of sawing, 
apparently getting deeper at each cut. (This action takes place at 
side of, and not en Chinaman, the saw will thus appear to pene- 
trate.) 



COFFEE AND PISTOLS FOR TWO. 151 

Restaurant Keeper now advances, laughing, and pick- 
ing up all the articles that Chinaman swallowed (now laying 
fiat by Chinaman's side), one by one, looks at them and throws 
over light — (wlule this is going on, the cloth must be withdrawn 
from Chinamarfs drawers, so that his stgtnach will have shrunk to 
its former meagre dimensions.) 

Chinaman during this operation occasionally gives a 
twitch or a start, as if of pain. 

Carpenter then goes off (over light), returning with a 
stout twine, and long {wire) needle, and immediately goes 
through the motion of sewing up Chinaman's much abused 
inwards, at conclusion of which all exeunt (over light), ex- 
cept Chinaman. 

Chinaman gradually recovers — rubs his eyes as if he had 
been dreaming. Gazes with dismay at his reduced stom- 
ach, and after a little by-play of uncertainty what to do, 
gets slowly over the light. 



COFFEE ASTD PISTOLS FOE TWO. 

A SHADOW ACT. 

€\)Rxntkx8. 

Jones — A Tailor. 
Smith — A Cobbler. 

Costumes. — Jones — Coat with long narroio tails ; tight pants ; slull- 
cap and wig over ; hat with narrow brim. Smith — No coat ; shirt 
sleeves rolled over clboiv ; small cap and wig over ; crushed hat. 

Properties. — A small table ; two cups and saucers ; two spoons ; 
half-a-dozen large imitation spider s, flies, §c. ; two pistols (wooden) ; 
two chairs ; a cobbler s bench, §c. ; an old shoe ; a tailor *s flat-iron 
(profile cut out of card-board) ; a hammer (made of wood). The 
spiders, <$•<?., can be made of bits of cork and wire, each secured to 
separate pieces of v erg fine white spool-cotton, the ends of which 
should pass over a wire stretched across, close to -the curtain (and 



152 SHADOW ACTS AND PANTOMIMES. 

high enough to cast no shadow), and carried bmch and secured be- 
yond the light ; the wire must be smooth, so that the threads can 
slide along as well as tip and down. 

Smith. (Seated on cobblers bench, right, yawning and stretching 
.tmself.) Why, I dejflare, I've been asleep. (Yawns.) And 
here's Jones's shoe not finished. Where's my hammer? 
{Hammer is thrown to him over the light — this must be neatly done, 
so that it does not turn over — Smith catches it by the handle, and 
commences business with hammer and shoe.) 

Jones. (Jumps over the light, knocks Smith's hat over his eyes.) 
My shoe done ? say. 

Smith. (Adjusting his hat.) Do you take my hat for a street 
door, that you must knock on it to come in ? (Knocks Jones 
down with shoe ) Yes, your shoe is done, well done. 

Jones. (Getting up.) Yes, over done ; hand it over. 

Smith. (Throws shoe over light.) There, go up and fetch it. 
(Jones jumps back over light, then throws shoe over light, nearly 
up to curtain, and jumps forward over light after shoe. ) Phew ! 
that was an awful chase, anyhow. Lucky I had my goose 
with me — I should never have come down again without 
something heavy in my pocket. (Drones flat-iron from under 
coat.) 

Jones and Smith fight with flat-iron and hammer ; Jones snatches 
hammer from Smith's hand and throws it over light (some one be- 
hind should catch it before it falls to the ground — this should al- 
ways be done when anything is thrown that would make a noise in 
falling); Smith snatches and throws fiat-iron over ; they throw 
one another's hats, and lastly wigs, over ; then clap hands on their 
bald heads and jump over after their wigs and hats; put them on 
again and jump forward again quickly ; both stand staring at one. 
another, hands on knees, and breathing hard, as if afraid of each 
other. 

Smith. What's the use of raising a muss,, any how P Let's ■ 
sit down and have a cup of coffee, eh ? ' 

Jones. Coffee ! why of course. Why didn't you say so 
before ? 



COFFEE AND PISTOLS FOR TWO. 153 

Smith. Hullo, Tom! 

A Voice (behind, answers,) Hullo yourself. 

Smith. Is that coffee ready? 

YoiCE. Yes. Come and fetch it ! 

A table with two cups of coffee, and tico buns fastened to strings over 
the wire, have been placed ready over the light {but not in shadow). 
Smith and Jones, each stretch out an arm back and lift table for- 
ward {this makes the table appear to be lifted down from the ced- 
ing and their arms stretched out to a great length). The exact 
position of the table legs must have been previously marked on the 
floor so that a spider can be let fall into each cup. A chair is handed 
to each, over the light, and they both sit down, one on each side of the 
table. Business with spoons, stirring coffee, etc. Each bun has had 
beforehand, a good bite taken out of its side, but placed so that the 
bitten side is not in profile. 

Jones. (Takes vp his I un, appears to take a lite and lays it 
down again). That's bully cake. "Why don't you try yours, 
Smith ? 

Smith. (Picks his bun up, bringing bitten side in profile). 
What do you mean by eating my cake, you hog ! 

Jones. Hog yourself. I didn't touch your cake. 

Smith. (Picking up Jones' cake so that bitten side is in profile). 
P'raps you think you can fool me. See here ! (Shows him 
cake apparently whole.) 

Jones. Guess you've gone clean crazy — (picks up Smith's 
cake, profile tchole.) Nothing the matter with yours. 

Smith. Drop my cake ! . 

Jones. You drop mine then — you want to pick up a quar- 
rel again — can't do it with this one, not if I know myself. 
How much for fixing my shoe ? 

Smith taps his forehead, counts on his fingers, goes through business of 
calculating. Jones raises cup to mouth gently. Spider falls in 
-front of cup just before Jones' nose — Jones terrified, with head 
thrown back caul mouth open. Spider drops in mouth. (This de- 
ception is effected by letting the spider drop down side of head furth- 
est from curiam — passing behind open month, and can be hdd with 



154 SHADOW ACTS AND PANTOMIMES. 

one hand kept carefully in shadow of body). Jones sets cup down, 
making noise as though choking. 

Smith. That shoe will cost — (tees Jones choking). Hullo, 
what's the matter ? Thought you'd choke yourself. Can't 
eat and drink without something of the kind happening — 
who's hog now? 

Jones. (Sphdlering and spitting out spider, which is drawn up 
out of sight. ) Boo ! Ugh ! S'pose you'll try and make me 
believe you didn't put that spider in my cup. 

Smith. Ha ! ha ! {Laughs heartily, then quietly takes up his 
cup to drink.) 

Big fly does same to him as spider did to Jones ; same business — Smith 
getting rid of fly ; both start up indignant, gesticulate over table, 
and at last sit down again, and prepare to eat, each stretches hand 
to grasp his cake, which both go gradidly up out of sight ; as they 
go up, flies and spiders come, down and play around their faces, up- 
lifted in astonishment ; then both put table back {same way as they 
lifted it forward) over light, and the insects are drawn up. 

Smith. {Shaking his fist at Jones.) I won't stand this, no 
how ! (Calls back.) Here ! pistols for two. 

Behind the light two assistants have each a pistol ready, one of which is 
thrown (very carefully , in profile) butt towards each performer ; 
if cleverly caught with one hand, the pistols will appear as if they 
dropped from the ceiling into the performers' hands. 

Both. Die, villain ! Die ! 

Two torpedoes are exploded behind, one after the other, and both com- 
batants drop ; and, after a pause, Jones crawls to light, gets up 
gradually, and steps over, followed by Smith, in same manner, to 
slow, solemn music \ # 



A CLEAN SHAVE. 155 

A CLEAN SHAYE. 

A SHADOW PANTOMIME. 

€\}iixuthx8. ' 

Sam — A barber, given to barbarous practices. 
Jones — A candidate for a clean shave, and gets it. 

Costumes. — Sam — Tight-fitting vest and pantaloons ; no coat ; friz- 
zled .wig, and short apron ; big watch and fob chain. Jones — 
. Long-tailed coat ; short pantaloons ; a hat made extra high by the 
addition of a piece of card-board or stout paper ; large false nose ; 
a close-fitting skull-cap, covered with a long-haired wig, false mous- 
tache and long false whiskers. {For directions for false nose see 
page 145. 

Properties. — A chair, left of stage ; right of stage, a barbels pole, 
with spiral stripes, cut out of stout paper, and pinned onto curtain ; 
a large razor made of pasteboard, the blade and handle separate 
pieces, each about eighteen inches long, and riveted together, so as 
to open and shut ; a pair of scissors about two feet long, made of 
two pieces of pasteboard, fastened together with a rivet in the mid- 
dle ; a whitewash brush, to serve as a shaving brush, and a bucket 
for a shaving pot ; a large towel, or cloth ; a broom, standing just 
beyond right of curtain, and a napkin. 

It has already been remarked, {page 144), that where there is no 
drop, curiam, or means of covering the sheet from the view of the 
audience, the light must be entirely prevented from shining on the 
sheet, by placing a solid object, a large book on edge, for instance, 
close in front of it, and ivhen this is withdrawn {which should be 
done slowly and upwards), it will have the same effect as rolling up 
a drop curtain. 

Scene. — The curtain, rising, should discover the chair reversed {left 
side), with its back right, and Sam laying on the floor, with head 
and shoulders resting on the sloping back of the chair, asleep. 



156 SHADOW ACTS AND PANTOMIMES. 

Sam, gradually waking up, turns on one side and stretches 
upper leg upwards and over the light, turns over on his other 
side and stretches his other leg in the same direction, then 
sits up, rubs his eyes, and yawns, stretching first one arm, 
and then the other, over towards the light. (The effect of this 
stretching, if properly done, will le to make each limb in succes- 
sion appear to stretch out to a great length, and then dreiw in 
again.) He then, gradually getting up on his feet, goes 
through the motion of a man half awake. Giving himself 
a good shake all over, he looks around him, turns the chair 
up on its legs, looks at his watch, and appears astonished at 
the lateness of the hour. He moves, in consequence, a little 
more briskly, reaches the broom, and commences to sweep 
out his place ; after which, takes napkin, and carefully dusts 
the chair all over, as well as the barber's pole. This finished, 
he puts away his broom, hangs the napkin over his left arm, 
and rubs his hands as if satisfied with things in general. 

[Exit left. 

Jones (enters over light) Looks around him and sees the. 
barber's pole — examines it, and after a moment's thought, 
seems to understand what it means, exhibits signs of delight 
at the discovery, and summons the barber. 

Sam (enters left). Bows and dances forward with actions 
of deep respect — then standing upright and looking straight 
at Jones — gives way to frantic hilarity at his general appear- 
ance, especially his hat, but is brought to his sober senses 
again by a kick from Jones, who shows signs of anger. He 
then seems to apologize. 

Jones signifies his desire to get shaved and have his hair 
cut. (For shaving, go through motions of shaving cheeks and chin 
with forefinger ; and for hair-cutting, take a long lock of hair in 
one hand by the ends, and oj)en and shut the first and second finger 
of the other hand, imitating the actions of a pair of scisso:s.) 
Passes Sam with a stately tread, and sits down in the chair. 

Sam shakes his fist behind Jones' back, and acts as if he 
would like to kick him, but changes his demeanor the mo- 
ment Jones faces round again — arranges the towel under 



A CLEAN SHAVE. 157 

Jones' chin, lifts hat carefully from Jones' head and kicks it 
over light. 

Jones starts up in a rage, but 

Sam leads him back to seat with great politeness, vehement 
in his apologies, and then jumps over light, returning with 
bucket .and brush, which he sets down front of Jones, and 
goes through business of making lather in the bucket. 

Jones again starts up, pointing at bucket and brush, and 
refuses to have them used on him. 

Sam leads him back to chair with the same politeness as 
before, soothing him, then jumps over light and fetches his 
razor, goes through the business of sharpening razor on his 
boot, and pulling a hair out of his head, tries if it is sharp 
enough. 

Jones now jumps up thoroughly scared at the fearful razor 
(if Jones can wear a trick wig, the hair at the lack fart of which, 
on pulling a string, stands up on end, the effect will be greatly in- 
creased), protests against being shaved with such a murderous 
• weapon, and starts to run away. 

Sam catches hold and pushes him on the chair again, bran- 
dishing the razor before him, as if threatening him with fear- 
ful consequences if he does not sit quiet, then proceeds to 
lather him with the brush, persisting in the operation in spite 
of Jones' sputterings and endeavors to avoid it. He next 
seizes Jones' whisker with left hand, and commences to cut 
it off downwards, the razor is too dull and takes apparently 
firm hold. He struggles to get the razor through, dragging 
poor Jones around, but not succeeding this time, he puts 
him back on the chair, at the same time by threats com- 
pelling him to remain quiet while he proceeds to give the ra- 
zor another touch on his boot, Thoroughly satisfied that the 
razor is now in fine order, he proceeds with his job, and re- 
lieves Jones of his whiskers, the moustache follows next, and 
he then wipes his face off carefully with napkin. 

Jones gets up and intimates that he will have his hair cut 
another time, telling Sam that he -does not know how to 



158 SHADOW ACTS AND PANTOMIMES. 

shave. [This is done by J ones pointing at Sam, going through 
motion of shaving, and then shaking his head.) 

Sam pushes Jones back into chair, and makes signs that 
he is going to cut his hair whether Jones will or no, jumps 
quickly over light and returns with his scissors. 

Jones with renewed terror runs off left, followed by Sam, 
both immediately re-appearing (over light), Jones first, who 
sits down exhausted, and seeing further resistance useless, 
resigns himself to his fate. 

Sam commences to cut Jones hair, but the scissors are not 
sharp enough, raising Jones half out of the chair at each 
attempt, so he throws away the scissors (over light) and 
jumps back (over light), returning with razor, with one fell 
swoop of which he peels off wig entire. 

Jones goes through action of distress at his bald head, and 
gets in a passion, and a general scuffle ensues. At last 

Sam grabs the tails of Jones' coat, which both come off in 
his hands, then opening his razor, cuts Jones' nose off (for 
actions of bleeding nose, see page 145), and runs away. 

[Exit Sam over light, 

Jones is now in a sad plight, bald-headed and noseless, 
he staggers about, now and then letting the blood drop from 
his wounded face, bewails the loss of his coat-tails, and gives 
signs of great distress, ultimately creeping sadly away. 

[Exit Jones over light. 

The person who plays the part of Jones must be very careful to Iceep 
his nose covered with one hand, from the moment he is supposed to 
have parted company with that useful feature, until he is out of 
sight (shadowly speaking) of the audience; want of precaution in 
this respect may afford ocular demonstration that his nose is still on 
his face, and destroy the effect of Sam's last grand achievement. 



BOX AND COX. 159 



BOX AND COX. 

# 

A SHADOW ACT, ADAPTED FROM THE POPULAR FARCE OF 
THE SAME NAME. 

Box — A Journeyman Printer. 
Cox — A Journeyman Hatter. 
Mrs. Bouncer — Their Landlady. 

Costumes. — Box — Short coat ; pantaloons turned up at bottom ; high 
hat without brim; nose made up as a pug . Cox — Jacket; tight 
pantaloons, very short ; large shoes ; tall hat ; wig, with very 
short hair, standing upright; nose, a handsome Roman. Mrs. 
Bouncer — Scanty gown ; high cap, with very large frill "standing 
up in front ; loose sleeves. {In stepping over light, the ski?'ts should 
be lifted up a little, to avoid the risk of catching fire. ~) 

Properties. — A small table each side of stage, out of shadow, for 
convenience in putting things out of hand ; each should be placed so 
as to leave room to allow of exit and entrance between it and the 
curtain ; on the table, right, a tray, with cup and saucer, tea-pot, 
§c, on it ; three hats for Cox, all too large for him ; small nar- 
row table, for centre of stage ; two round pieces of card, about 
three inches in diameter ^ each having a head and stars cut out of it, 
in imitation of a copper cent. Two pairs of dice, made of card, 
about two inches square, with the six spot punched out of all of 
them, and fastened on edge of stage table nearest the light, one pair 
near % each end, hinged in such manner as will allowof their hanging 
down out of shadow, and also being turned up. in shadoiv by means 
of finger ; or they may be loose, so as to be held up between the 
thumb and finger close to the curtain, but for this purpose, two 
inches square will be large enough ; two sets of four cards each, 
representing the four aces of two packs of cards, these may be cut 
out af any old playing cards ; two rapiers, made of wood ; a wire 
gridiron, made double, to hinge tog ctlicr ; a profile fish , clout light 



160 SHADOW ACTS AND PANTOMIMES. 

inches long ; three sausages strung together, may be made of rags ; 
a small bolster, nearly empty ; large imitation match-box ; profile 
dice-box, apparently large enough to hold the dice ; clay pipe for 
Box ; candle-stick, with short candle m on table, right ; a steel fork ; 
two chairs. 

Scene. — Profile of a stove, extreme left of curtain {while this is being 
used, place a stool or box, to put the gridiron on, top just level with 
top of stove, and out of shadow} ; small table centre of stage, 

$ Enter Cox, left, without hat. 

Cox. I've half a mind to register an *oath that I'll never 
have my hair cut again ! I look as if I had just come from 
the Penitentiary. And I was particularly emphatic in my 
instructions to the hair-dresser, only to cut the ends off. He 
must have thought I meant the other ends ! Never mind — ■ 
I shan't meet any anybody to care about so early. Eight 
o'clock, I declare ! I haven't a moment to lose. Fate has 
placed me with the mpst punctual, particular and peremp- 
tory of hatters, and I must fulfill my destiny. [Knock behind.) 
Open locks, whoever knocks ! 

Enter Mrs.' Bouncer, over light, 

Mrs. B. Good morning, Mr. Cox. I hope you slept com- 
fortably, Mr. Cox ? 

Cox. I, can't say I did, Mrs. B. I should feel obliged to 
you if you could accommodate me with a more protuberant 
bolster, Mrs. B. The one I've got now seems to me to have 
about a handful and a-half of feathers at each end, and noth- 
ing whatever in the middle. • 

Mrs. B. Anything to accommodate you, Mr. Cox. Why, 
I do declare, you've had your hair cut. 

Cox. Cut? It strikes me I've had it mowed ! It's very 
kind of you to mention it, but I'm sufficiently conscious of 
the absurdity of my personal appearance already. (Puts on 
his coat.) Now for my hat. (Puis on his hat, which comes .over 
his eyes.) That's the effect of having one's hair cut. This hat 



BOX AND COX. 161 

fitted me quite tight before. Luckily I've got two or three 
more. [Goes off left, and returns, with three hats of different 
shapes, and puts them on, one after the other — all of which are too 
big for him.) This is pleasant. ! Never mind. This one ap- 
pears to me to wabble about rather less than the others — 
(puts on hat) — and now I'm off! By the bye, Mrs. Bouncer, 
who is that individual that I invariably meet coming up 
stairs when I'm going down, and going down stairs when 
I'm coming up ? From the appearance of his outward man, 
I should unhesitatingly set him down as a gentleman con- 
nected with the printing interest. 

Mrs. B. Yes, sir— and a very respectable young gentleman 
he is. 

Cox. Well, good morning, Mrs. Bouncer ! 
Mrs. B. You'll be back at your usual time, I suppose, sir ? 
Cox. Yes — nine o'clock. You needn't light my fire in fu- 
ture, Mrs. B. — I'll do it myself. Don't forget the bolster ! 
(Going, stops.) A cent's worth of milk, Mrs. Bouncer — and be 
good enough to let it stand— I wish the cream to accumu- 
late. [Exit, over light. 

Mrs. B. He's gone at last ! I declare I was all in a trem- 
ble for fear Mr. Box would come in before Mr. Cox went 
out. Luckily, they've never met yet — and what's more, 
they're not very likely to do so ; for Mr. Box is hard 
at work at a newspaper office all night, and doesn't come 
home till the morning, and Mr. Cox is busy making hats all 
day long, and doesn't come home till night ; so that I'm get- 
ting double rent for my room, and neither of my lodgers are 
any the wiser for it. It was a capital idea of mine — that it 
was ! But I haven't an instant to lose. First of all, let me 
put Mr. Cox's thing© out of Mr. Box's way. Then make the 
bed — and don't let me forget that what's the head of the bed 
for Mr. Cox becomes the foot of the bed for Mr. Box — peo- 
ple's tastes differ so. (Goes off left, then appears with a very 
thin bolster in her hand.) The idea of Mr. Cox presuming to 
complain of such a bolster as this ! (She disappears again, left.) 



162 SHADOW ACTS AND PANTOMIMES. 

Box. ( Without.) Pooh — pooh ! Why don't you keep your 
own side of the staircase, s^ir ? (Enters over light. ) 

Mrs. B. (Entering left.) Lor, Mr. Box ! what is the mat- 
ter ? 

Box. Mind your own business, Bouncer ! 

Mrs. B. Dear, dear, Mr. Box ! what a temper you are in, 
to be sure ! I declare, you're quite pale in the face ! 

Box. What color would you have a man be, who has been 
setting up long leaders for a daily paper all night ? 

Mrs. B. But, then, you've all the day to yourself. 

Box. So it seems ! Far be it from me, Bouncer, to hurry 
your movements, but I think it right to acquaint you with 
my immediate intention of divesting myself of my garments, 
and going to bed. 

Mrs. B. Oh, Mr. Box! (Going.) 

Box. Stop ! Can you inform me who the individual is 
that I invariably encounter going down stairs when I'm 
coming up, and coming up stairs when I'm going down ? 

Mrs. B. Oh — yes — the gentleman in the attic, sir. 

Box. Oh ! There's nothing particularly remarkable about 
him, except his hats. I meet him in all sorts of hats — white 
hats and black hats — hats with broad brims, and hats with 
narrow brims — hats with naps, and hats without naps — in 
short, I have come to the conclusion that he must be individ- 
ually and professionally associated with the hatting interest. 

Mrs. B. Yes, sir. And, by the bye, Mr. Box, he begged 
me to request of you, as a particular favor, that you would 
not smoke quite so much. 

Box. Did he ? Then you may tell the gentle hatter, with 
my compliments, that if he objects to the effluvia of tobacco, 
he had better domesticate himself in some adjoining county. 

Mrs. B. Oh, Mr. Box ! You surely wouldn't deprive me 
of a lodger ? 

Box. It would come to precisely the same thing, Bouncer, 
because if I detect the slightest attempt to put my pipe out, 
I at once give you warning that I shall give you warning at 
once. 



BOX AND COX. 163 

Mus. B. Well, Mr. Box, do you want anything more of me ? 

Box. On the contrary — I've had quite enough of you ! 

Mrs. B. Well, if ever ! What next, I wonder ? 

[Exit over light. 

Box. It's quite extraordinary, the trouble I always have 
to get rid of that venerable female ! She knows I'm up all 
night, and yet she seems to set her face against my indulging 
in a horizontal position by da,y. Now, let me see — shall I 
take my nap before I swallow my breakfast, or shall I take 
my breakfast before I swallow my nap — I mean, shall I swal- 
low my nap before — no — never mind ! I've got some sau- 
sages somewhere. {Feeling in Ids pockets.) I've the most dis- 
tinct and vivid recollection of having purchased some sau- 
sages. Oh, here they are. (Produces them, wrapped in paper, 
and places on table.) And a penny roil. (Pats roll on table, centre 
of stage. ) The next thing is to light the* fire. Now, 'pon my 
life, this is too bad of Bouncer — this is, by several degrees, 
too bad ! I had a whole box full of matches three days ago, 
and now there's only one ! I'm perfectly aware that she 
purloins my coals and my candles, and my sugar — but I did 
think — oh, yes, I did think that my lucifers would be sacred ! 
(Takes candlestick from table off right side, in which there is a very 
small end of candle — looks at it.) Now, I should like to ask any 
unprejudiced person or persons their opinion touching ' this 
candle. In the first place, a candle is an article that I don't 
require, because I'm only at home in the day time — and I 
bought this candle on the first of May, calculating that it 
would last me three months, and here's one week not half 
over, and the candle three parts gone ! (Reaches gridiron from 
same table.) Mrs. Bouncer has been using my gridiron ! The 
last article of consumption that I cooked upon it was a pork 
chop, and now it is powerfully impregnated with the odor of 
red herrings ! {Opens gridiron, and then lays sausages on the (grid- 
iron, and puts it down on stove.) I'd indulge myself with a nap, 
if there was anybody here to superintend the cooking of my 
sausages. ( Yawning.) I must lie £own — so, here goes. ( Goes 
off right side.) 



164 SHADOW ACTS AND PANTOMIMES. 

Cox. (Enters hurriedly, over light.) Well, wonders will never 
cease ! Conscious of being eleven minutes and a-half behind 
time, I was sneaking into the shop, in a state of considerable 
excitement, when my venerable employer, with a smile of • 
extreme benevolence on his aged countenance, said to me — 
" Cox, I shan't want you to-day — you can have a holiday." 
It's so long since I had a day to myself that I can't make up 
my mind what to do — where to go. However, I must have 
my breakfast first — that'll give me time to reflect. I've 
bought a herring, so I shan't want any dinner. (Puts herring 
on table.) Good gracious ! I've forgot the bread. Halloa ! 
what's this ? A roll, I declare ! Come, that's lucky ! Now, 
then, to light the fire. Halloa — (seeing the match-box on table) 
who presumes to touch my box of matches ? Why, it's empty ! 
I left one in it — I'll take my oath I did. Hey-day ! why. the 
fire is lighted ! Where's the gridiron ? On the fire, I de- 
clare ! And what's that on it ? Sausages ? Sausages it is ! 
Well, now, 'pon my life, there's a quiet coolness about Mrs. 
Bouncer's proceedings that's almost amusing. She takes my 
last lucifer — my coals, and my gridiron, to cook her breakfast 
by ! No, no — I can't stand this ! Come out of that ! (Pokes 
fork into sausages, and puts them on a plate on the table, then places 
his herring on the gridiron, which he puts on stove.) Now, then, 
for my breakfast things. (Goes out, left.) 

Box. (Enters, right.) I wonder how long I've been asleep ! 
(Suddenly recollecting.) Goodness gracious ! my sausages! (Runs 
to the fireplace.) Halloa! what's this? A herring? Whose 
herring? Mrs. Bouncer's I'll be bound. She thought to 
cook her breakfast while I was asleep — with my coals, too — 
and my gridiron ! Ha, ha ! But whereas my sausages ? (See- 
ing them on table.) Here they are. Well, 'pon my life, Boun- 
cer's going it ! And shall I curb my indignation ? Shall I 
falter in my vengeance ? No ! (Digs the fork into the herring, 
and, throws over light.) So much for Bouncer's breakfast, and 
now for my own ! ( With the fork he puts the sausages on the grid- 
iron again.) I may as well lay my breakfast things. 

[Exit right. 



BOX AND COX. 165 

Cox. [Enters, left, with a small tray, on which are tea things, 
&c, which he places on table, and suddenly recollects.) Oh, good- 
ness ! my herring J (Buns to fireplace. ) Holloa — what's this ? 
The sansages again ! Oh, pooh ! Zounds — confound it — - 
dash it — I can't stand this ! {Pokes fork into sausages and throws 
over light, and meets Box, entering left, with his tea things.) Who 



are you, sir 



? 



Box. If you come to that — who are you ? 

Cox. What do you want here, sir ? - 

Box. If you come to that — what do you want ? 

Cox. {Aside.) It's the printer ! (Puts tea things on the table.) 

Box. (Aside.) It's the hatter ! (Puts tea things on table.) 

Cox. Go to your attic, sir — 

Box. My attic, sir ? Tour attic, sir ! 

Cox. Printer, I shall do you a frightful injury, if you don't 
instantly leave my apartment. 

Box. Your apartment ? You mean my apartment, you 
contemptible hatter, you ! 

Cox. Your apartment ? Ha ! ha ! — come, I like that ! Look 
here, sir ! {Produces a paper out of his pocket.) Mrs. Bouncer's 
receipt for the last week's rent, sir — 

Box. (Produces a paper, and holds it close to Cox's face.) Dit- 
to, sir ! 

Cox. (Suddenly shouting. ) Thieves ! 

Box. Murder! 

Both. Mrs. Bouncer ! 

Mrs. B. (Enters over light.) What is the matter? (Cox and 
Box seize Mrs. Bouncer by the arm.) 

Box. Instantly remove that hatter ! 

Cox. Immediately turn out that printer ! 

Mrs. B. Well— but, gentlemen — 

Cox. Explain ! (Pulling her round to him.) 

Box. Explain ! (Pulling her round to him.) Whose room is 
this ? 

Cox. Yes, woman ! whose room is this ? 

Box. Doesn't it belong to mo ? 

Mrs. B. No ! 



166 SHADOW ACTS AND PANTOMIMES. 

Cox. There ! You hear, sir — it belongs to me ! 

Mrs. B. No ! It belongs to both of you ! (Sobbing.) 

Cox AND Box. Both of us ? 

Mrs. B. Oh, dear, gentlemen, don't be angry — but you 
see, this gentleman (pointing to Box) only being at home in 
the day time, and that gentleman ('pointing to Cox) at night, 
I thought I might venture, until my little back second floor 
room was ready — 

Box AND Cox. (Eagerly.) When will your little back sec- 
ond floor room be ready ? 

Mrs. B. Why, to-morrow — 

Cox. I'll take it ! 

Box. So will I! 

Mrs. B. Excuse me — but if you both take it, you may 
just as well stop where you are. 

Cox and Box. True. 

Cox. I spoke first, sir — 

Box. With all my heart, sir. The little back second floor 
room is yours, sir — now, go — 

Cox. Go ? Pooh ! pooh ! 

Mrs. B. Now don't quarrel, gentlemen. You see, there 
used to be a partition here — 

Cox and Box. Then put it up ! 

Mrs. B. Nay, I'll see if I can't get the other room ready 
this very day. Now do keep your tempers. [Exit oner light. 

Cox. What a disgusting position ! 

Box. (Sitting doicn on chair, at one side of table.) Will you 
allow me to observe, if you have not had any exercise to-day, 
you'd better go out and take it. 

Cox. I shall not do anything of the sort, sir. (Seating him- 
self at the table opposite Box.) 

Box. Very well, sir ! 

Cox. Yery well, sir ! However, don't let me prevent you 
from going out. 

Box. Don't flatter yourself, sir. (Cox is about to break a 
fiece of the roll off.) Halloa ! that's my roll, sir! (Snatches it 



BOX AND COX. 167 

away — puts a pipe in his mouthy lights it, and puffs smoke across 
to Cox.) 

Cox. Holloa ! What are you about, sir? 

Box. What am I about ? I'm about to smoke. 

Cox. Wheugh! {Grosses right.) I'll have to open the win- 
dow. 

Box. Holloa ! ( Turns round.) Put down that window, sir ! 

Cox. Then put your pipe out, sir ! 

Cox. There ! (Puts pipe on table.) 

Cox. There ! It's shut. (Re-seats himself.) 

Box. I shall retire to my pillow. ( Takes off his jacket, then 
goes towards right. ) 

Cox. (Jumps up, seizes Box.) I beg your pardon, sir — I can- 
not allow any one to rumple my bed. 

Box. Your bed ? Hark ye, sir — can you fight ? 

Cox. No, sir. 

Box. No ? Then come on ! (Sparring at Cox.) 

Cox. Sit down, sir — or I'll instantly vociferate " Police ! " 

Box. Seats himself — Cox does the same.) I say, sir — 

Cox. Well, sir? 

Box. Although we are doomed to occupy the same room 
for a few hours longer, I don't see any necessity for our cut- 
ting each other's throats, sir. 

Cox. Not at all. It's an operation that I should decidedly 
object to. 

Box. And, after all, I've no violent animosity to you, sir. 

Cox. Nor have I any rooted antipathy to you, sir. 

Box. Besides, it was all Mrs. Bouncer's fault, sir. 

Cox. Entirely, sir; 

Box. Very well, sir ! 

Cox. Yery well, sir ! (Pause.) 

Box. As we both seem to claim this room, suppose we de- 
cide by chance who shall yield possession to the other. Ha ! 
I've got a pack of cards. Suppose we cut to decide. Highest 
wins. 

Cox. I'm with you. Why, I do believe I have a pack of 
cards, too. (Both produce their cards and place them on table.) 



168 SHADOW ACTS AND PANTOMIMES. 

Box. ( Gutting, and holding up an ace.) Ace ! Thought you'd 
lose. 

Cox. (Also cutting, with same result.) Who says lose F Ace ! 

They both repeat operation three times, excitedly, always turning an ace, 
(care should be taken that the ace of a different suit be held up each 
time.) 

Box. (Throwing his cards over light in disgust.) That won't 
do. Let's try something else. What do you say to dice ? 
' Cox. With all my heart ! Dice, by all means. (Eagerly.) 

Box. (Aside.) That's lucky ! Mrs. Bouncer's nephew left 
a pair here yesterday. He sometimes persuades me to have 
a. throw for a trifle, and as he always throws sixes, I suspect 
they are good ones. ( Goes off right and brings the dice-box.) 

Cox. (Aside.) I've no objection at all to dice. I lost nine 
dollars and ninety cents, at Coney Island, to a very gentle- 
manly-looking man, who had a most peculiar knack of throw- 
ing sixes ; I suspected they were loaded, so I gave him an- 
other ten cents, and he gave me the dice. ( Takes dice out of 
his pocket — uses match-box as a substitute for dice-box, which u on 
table. ) 

Box. Now then, sir ! 

Cox. I'm ready, sir ! ( They seat themselves at opposite sides of 
the table. ) Will you lead off, sir ? 

Box. As you please, sir. The lowest throw, of course, 
wins. 

Cox. Of course, sir. * 

Box. Yery well, sir ! 

Cox. Yery well, sir ! 

Box, (Battling dice and throicing.) Sixes ! 

Cox. That's not a bad throw of yours, sir. (Rattling dice — 
throws.) Sixes ! 

Box. That's a pretty good one of yours, sir. (Throws.) 
Sixes ! 

Cox. (Throws.) Sixes! 

Box. Sixes! 

Cox. Sixes! 



BOX AND COX. 169 

Box. Sixes! 

Cox. Sixes ! 

Box. Those are not bad dice of yours, sir. 

Cox. Yours seem pretty good ones, sir- 
Box. Suppose we change ? 

Cox. Yery well, sir. {They change dice,) 

Box. (Throwing.) Sixes! 

Cox. Sixes! 

Box. Sixes! 

Cox. Sixes! 

Box. (Flings down tlie dice.) Pooh ! It's perfectly absurd, 
your going on throwing sixes in this sort of way, sir. 

Cox. I shall go on till my luck changes, sir ! 

Box. Let's try something else. I have it ! Suppose we 
toss ? 

Cox. The very thing I was going to propose ! 



They each turn aside, and take out a handful of 

Box. (Aside, examining money.) Where's my tossing cent ? 
Here it is ! {Selecting coin.) 

Cox. (Aside, examining nioney.) Where's my lucky penny ? 
I've got it ! 

Box. Now, then, sir — heads win ? 

Cox. Or tails lose — whichever you prefer. 

Box. It's the same to me, sir. 

Cox. Yery well, sir. Heads, I win — tails, you lose. 

Box. Yes — (suddenly) no. Heads win, sir. 

Cox. Yery well — go on ! 

They are standing opposite to each other. 

Box. (Tossing.) Heads! 
Cox. (Tossing.) Heads! 
Box. (Tossing.) Heads! 
Cox. (Tossing.) Heads! 

Box. Ain't you rather tired of turning up heads, sir ! 
Cox. Couldn't you v&ry the monotony of our proceedings 
by an occasional tail, sir Y 



170 SHADOW ACTS AND PANTOMIMES. 

Box. (Tossing.) Heads! 

Cox. ( Tossing.) Heads ! 

Box. Heads? Stop, sir ! Will you permit me? {Taking 
Cox's penny.) Holloa ! your penny has got no tail, sir ! 

Cox. (Seizing Box's cent.) And your cent has got two heads, 
sir ! 

Box. Cheat! 

Cox. Swindler 1 
They are about to rush upon each other, then retreat to some distance, 
and commence sparring, and striking fiercely at one another. Then 
each goes off on his oivn side, returning with a rapier, with which 
they go through considerable but fruitless fighting , at last, both ex- 
hausted, drop the points of their swords to ground, and, after a 
pause, — " 

Cox. I don't think I want to hurt you, Box. 

Box. Feeling's mutual, Cox ; let's think it over. 

Cox. No ! let's shake hands. 

Box. Just my idea, exactly. 

Both throw swords over light, and shake hands cordially. 

Mrs. B. (Putting her head in left side.) The little second 
floor back room is quite ready ! 

Cox. I don't want it ! 

Box. No more do I ! 

Cox. What shall part us ? 

Box. What shall tear us asunder ? 

Cox. Box! 

Box. Cox ! (About to embrace — Box stops, seizes Cox's hand, 
and looks eagerly in his face. ) You'll excuse the apparent in- 
sanity of the remark, but the more I gaze on your features, 
the more I'm convinced that you're my long lost brother. 

Cox. The very observation I was going to make to you ! 

Box. Ah — tell me — in mercy tell me — have you such a 
thing as a strawberry mark on your left arm ? 

Cox. No! ■ 

Box. Then it is he ! # 

They rush into each other's arms. 



HOSPITAL PRACTICE. 171 

Cox. Of course we stop where we are ! - 

Box. Of course ! 

Oox. For, between you and me, I'm rather partial to this 
house. 

Box. So am I — I begin to feel quite at home in it. 

Cox. Everything so clean and comfortable — 

Box. And I'm sure the mistress of it, from what I have 

seen of her, is very anxious to please. 

Cox. So she is — and I vote, Box, that we stick by her. 

Box. Agreed ! There's my hand upon it — join but yours 
— agree that the house is big enough to hold us both, then 
Box- 
Cox. And Cox — 

Both. Are satisfied ! 



HOSPITAL PEACTICE. 

A HYPER-CHIRURGIOAL PANTOMIME. 

Doctor — Long-tailed coat, knee breeches, shoes, hat with broad brim 

and low crown, very large spectacles. 
Assistant — In tights, with sugar-loaf hat, short coat. 
Patients — In costume to fancy. 

Properties. — A small narrow table; profile saw, large ; a pair of 
pincers, about eighteen inches long ; a large profile tooth ; four or 
five yards of wide tape, on one end of which is fastened the profile 
of a snake's head ; imitation of a brace and bit ; profile lobster four 
or five inches in size ; a butcher knife and some sawdust ; mallet 
and chisel. A chair. 

Scene. — Discovers the DoCtor with spectacles in hand, standing right 
of small table {placed right side so as to leave the centre of curtain 
clear}. 



172 SHADOW ACTS AND PANTOMIMES. 

Doctor is apparently cleaning his spectacles, and looking 
through them occasionally the reverse way, to see if they 
are clean. He next takes up his instruments (which are lying 
on the talde)> one by one, examining them with great care, to 
see if they are in good order. As he is just concluding his 
investigations, a noise, as of a person in pain, is heard be- 
hind. Doctor starts, listens, rubs his hands at the prospect 
of a job, and calls his Assistant. 

Assistant (enters lef), cutting grotesque antics ending 
with a low salaam (bows loio with arms arched over head). 

Doctor (listens, hand to ear), points off back, nods his head 
and motions to Assistant to go and see what is the matter. 

Assistant (exit over light), returning with patient stagger- 
ing and moaning, and holding his left shoulder with right 
hand. (An exact profile of the patient's left arm and hand sJwuld be 
fastened outsid.e his left shoulder — the real left arm being held close 
to side and the hand secure in pocket — and hang down loosely, as if 
dislocated at shoulder pint. The patient must be careful to bring 
his profile only in shadow, to prevent real arm being seen. ) 

Doctor examines him all over, at last lifts the false arm 
and lets it drop again, nods his head as if satisfied that he 
has found out what the trouble is. He again lifts the arm, 
and appears with great care to examine the shoulder — 
shakes his head, motions it is a bad case, and that the arm 
must be amputated. 

Assistant jumps around with delight, goes through the 
motions of cutting his arm off, and laughs. 

Doctor beckons him to come and hold up the false arm 
straight out, which he does, cutting capers meanwhile. 

Patient stamps with pain, and shakes his right fist at 
the Assistant, who becomes quiet. 

Doctor fetches his knife, re-arranges position of false arm, 
and appears to cut round the shoulder clean to the bone, 
the patient writhing and howling under the treatment. 
Doctor next fetches his saw, and commences sawing through 
the shoulder bone. (At the same time unfastening the false arm, 



HOSPITAL PRACTICE. 173 

so that, when the sawing is finished, the shoulder end falls downjand 
swings by the hand end held by the Assistant). 

Assistant catches the amputated shoulder with the 
hand that he has at liberty (in which he should have some saw- 
dust ready), and letting a little blood run out of the shoulder, 
throws the false arm over light. 

Doctor is busy rubbing the place where the arm came 
off, with one hand, while with the other he supports the 
patient, who has fainted, and brings the real arm into sha- 
dow. 

Patient comes to himself gradually, and finding his arm 
in good working order, tries its action in every way, swing- 
ing it round, etc., at last knocks the Doctor down with his 
new arm, and jumps over light. 

Assistant, with hands on knees, laughing heartily, points 
at Doctor and jumps over light. 

Doctor picks himself slowly up, and signifies his indigna- 
tion at the treatment he has received— has cut the man's 
arm off and received no pay — at last, goes to table and 
wipes his knife and saw carefully and arranges his instru- 
ments. Somebody knocks — he summons his Assistant, who 
enters (over light), and sends him backs (over light) to see 
who knocks. 

Assistant returns (over light) with a patient, suffering 
from toothache (signified by holding face with hand). 

Patient motions to Doctor that he has a severe toothache, 
and opens his mouth wide for the Doctor to examine. 

Doctor looks in Patient's m'outh, holds up both hands in 
amazement, shakes his head, and informs him that the tooth 
must come out. 

Patient demurs, would rather not. 

Doctor insists no other way to relieve him. 

Patient signifies that if it must be, he is willing. 

Doctor sends Assistant for a chair. 

Assistant (exit right, returning with chair), places chair 
right, invites the Patient to be seated and places himself 
behind the chair. 



174 SHADOW ACTS AND PANTOMIMES. 

Patient reluctantly sits down, getting up and sitting 
down again two or three times, as if he could hardly make 
up his mind to undergo the operation. 

Doctor takes his forceps from the table and advances to- 
wards Patient. 

Patient recoils in horror from the delicate instrument. 

Doctor motions to Assistant to hold him down firmly on 
the chair, which he does by placing both hands on the Pa- 
tient's shoulders. 

Doctor {who has the profile tooth concealed in his vest), opens 
Patient's mouth and inserts the pincers, seeming to select 
carefully the proper tooth, and with one foot raised on front 
of chair, makes believe to pull vigorously. The poor Patient, 
firmly held by the Assistant, can offer but feeble resistance, 
tut the tooth remains fast. The Doctor, taking a shorter 
hold of the pincers, advances near enough to conceal the 
shadow of the Patient's head for an instant, during which 
he conceals, and holds the profile tooth at side of Patient's 
head, just below the ear, and then with a mighty wrench^ 
using both hands for this last grand effort, produces the 
tooth, apparently from Patient's mouth, and holds it up in 
triumph. 

Patient holds his jaw with both hands (in one of which is 
a little sawdust) and leaning forward, lets a little blood gush 
out of his mouth. Then, shaking his fist at Doctor, jumps 
over light. 

Doctor signs to Assistant to follow and bring Patient 
back, as he has not paid his fee. 

Assistant jumps over light, and reappears same way in- 
forming Doctor that he cannot find Patient, he is gone. 

Doctor walks up and down in a rage, and finally wipes 
off his forceps and starts to go off stage {right), but is ar- 
rested by hearing a loud and impatient knocking {bade of 
stage). He starts, then motions that he has cut off an arm, 
no pay ; has drawn a tooth, no pay ; does not want any more 
Patients. (Knocking repeated still louder than "before.) Sum- 
mons his Assistant, and sends him to see who knocks. 



HOSPITAL PRACTICE. 175 

ASSISTANT starts to go over light, but is run against and 
knocked down by 

Patient (entering over light), clasps his head with both 
hands as if in great pain, and beckons Doctor to come and 
examine it. 

Doctor feels Patient's head all over, finds nothing, and 
intimates so. 

Patient insists, and begs the Doctor to look again. 

Doctor looks more carefully, shakes his head, then puts 
his ear to Patient's head, and nods, rubs his hands, and asks 
Patient by signs, if he does not feel a sort of creeping or 
crawling inside. (Taps head with hand and then holds up Ahe 
hand and ivories the fingers in every direction, like creeping). 

Patient repeats the action and nods. That's just the 
feeling. 

Doctor directs patient to sit down on the floor, leaves him 
so, and walks up and down in deep meditation, as if in 
doubt how to proceed. 

Patient gets up, touches Doctor on shoulder, and inti- 
mates that his pain is going on all the time, and begs Doc- 
tor to do something for him. 

Doctor, as if struck with an idea, seats the patient on the 
ground again, goes to table, takes brace and bit, and calls 
his Assistant to hold Patient's head firmly. 

Assistant, with alacrity, obeys, and pointing, first at 
Patient's head and then at the brace and bit, cuts a caper 
for joy and laughs heartily. 

Doctor stamps foot with impatience and signs he must 
be very quiet. 

Assistant sobers down at once, and takes hold of Pa- 
tient's head with both hands. 

Doctor feels round the Patient's head for a soft place ; 
finds it right on top, and applies the brace, which at first 
turn, hurts the Patient sq much that he jumps up and 
knocks both of the operators down. They get up slowly, 
and Patient apologizes, signs to them that the operation 
harts dreadfully and he is sorry to have been so hasty. 



176 SHADOW ACTS AND PANTOMIMES. 

The three resume former positions, and Doctor repeats op- 
eration. After a few turns of the brace, he throws it quickly 
down and claps his hand on wound ; then, apparently feel- 
ing inside Patient's head for the cause of all the trouble 
with great difficulty pulls out the profile lobster {which has 
during the Last fart of the operation, teen dexterously concealed in 
shadow a/ 5 Patient's head). Shows it to Patient. 

Patient {astonished). Asks if that gentle irritant came 
out of his head. 

Doctor {standing upright, icith dignity.) Bows assent. 

Patient shakes his head, does not believe it, snatches lob- 
ster, throws it over light, kicks Doctor and Assistant, and 
disappears. {Exit Patient over Light. 

Doctor, gets up, lifts Assistant on his feet and kicks him 
off (over light). He then seats himself on chair, but has 
scarcely done so, when another Patient arrives {jumps over 
light). 

Patient goes through a number of contortions illustra- 
tive of extreme uneasiness in his insides, holds stomach with 
both hands, and tries to vomit. 

Doctor, examines him thoroughly, and then, putting his 
ear against Patient's breast, inquires if he does not feel 
somethiug crawling from pit of stomach up to throat and 
back. 

Patient nods and passes hand up and down himself, only 
more quickly than the Doctor did. 

Doctor takes Patient's head with both hands, and holds 
it back, at the same time the Patient opens his mouth wide. 
After looking down his throat for a moment, he puts his 
hand in Patient's mouth, trying to get hold of something, 
and at last brings out the end of the tape. (The iajje should 
have been previously arranged by the side of the Patient's neck in 
such a manner as to allow of its whole length being drawn out and ap- 
pear to come out of his mouth.) He succeeds in getting the end 
out a little way, when it sticks fast, and resists all attempts 
to draw it further, Doctor then runs to table, fetches his 
chisel (pasteboard of course), and mallet, and, inserting the 



HOSPITAL PRACTICE. 177 

cliisel in Patient's mouth, seenis to drive it down his throat 
by repeated blows of the mallet. 

Patient shrinks down under each blow, and evinces ter- 
ror at the turn the operation is taking. 

Doctor then, with a great effort, draws chisel out, and 
finds that he has stretched the inside of Patient's throat 
enough to allow of the passage of the tape-worm, which 
now, under the Doctor's skillful manipulation, comes out. 
(As soon as the end of tape has well reached the floor, the tape need 
not he actually moved for some time, the Doctor appearing only to 
draio on the tape, hand over hand; giving the tape a shake each 
time ; by doing this, the apparent length of the worm will he greatly 
increased, care only being taken that there is sufficient tape on the 
floor not to allow of the end being visible any more.) After a 
mile or two of tape-worm has been drawn out, the Doctor 
seems to have to pull harder, and with great care, at last 
bringing out the end of the tape, with the snake's head on 
it, which he holds up for the Patient to look at. 

Patient staggers back, and gazes in astonishment at the 
little joker which has been extracted from his internals. 

Doctor having put the tape-worm down, asks him if he 
feels that running up and down sensation in his stomach 
any more. 

Patient repeats the action and shakes his head — feels 
all right. 

Doctor bows and asks his pay — signs to Patient that a 
man came to have his arm cut off (shows arm), but didn't 
pay ; another had a tooth pulled out (shows tooth), and he 
forgot to pay ; another had lobster on the brain (shows lister), 
and he did not pay. Signifies that this Patient cannot go 
until he has paid. 

Patient (ioIw, during the Doctor's recital, has manifested 
astonishment at the iconderful objects shown him by the Doctor), 
makes signs that he has no money. 

Doctor seizes Patient by the collar and beats him. (The 
Patient crying out with rain and making a great uoisr, stamping 
with Ins fcf, etc.) A number of persons, attracted by the 



178 SHADOW ACTS AND PANTOMIMES. 

noise, come jumping one after another, in quick succession 
over light, and hustle Doctor and Patient off right. {These 
persons should be dressed, one or two in long night-slur ts and mgar- 
loaf night-caps, one in tights, with a hoop-skirt only on, and others 
as grotesquely as circumstances permit.) The Patient enters 
again {right), running and jumping off {over light), closely 
followed by the Doctor and the rest of the crowd. When 
the crowd enters, a cat and a dog may be thrown on stage 
{over light), with excellent effect. [Exeunt all. 



CONCLUDING REMARKS. 

The foregoing Acts and Pantomimes are deemed sufficient 
to serve as examples of the manner in which the various 
effects and illusions may be produced on the shadow curtain ; 
and any one, with a moderate degree of ingenuity, and fer- 
tility of invention, will be able, from the hints here given, to 
multiply these effects, and produce an almost endless variety 
of illusions. As an illustration of this, some of the most 
effective conjuring tricks may be produced with great suc- 
cess ; for instance, a number of objects can be cut out of 
cardboard, such as birds, animals, kettles, tea-pots, hats, 
•flowers and plants in pet's, etc., at least twenty or more of 
which can be piled flat on the ground without coming above 
the level of the lower part of the frame of the shadow 
curtain. If these are lifted up one by one just behind a 
profile of a port-folio, apparently standing open, with the 
edges of one side against the curtain, all the amusing effects 
can be produced of an inexhaustible port-folio. A bird-cage 
can be easily imitated by using a thin frame and stout 
twine instead of wires, and last of all, previously opening 
the port-folio very wide, a full-sized (real) hoopskirt may 
be presented to the admiring gaze of the astonished audi- 
ence. All these objects can be thrown over the light, picked 



CONCLUDING REMARKS. 179 

up by an assistant behind, and pushed, one by one, back to 
the port-folio, by means of a thin slat of wood, kept fiat on 
the ground, and reproduced as often as may be required. 
Some very amusing effects may be given by using a magic 
lantern (instead of a lamp or gas flame), placed down on 
the ground and tilted upwards so as to throw its light entire 
on the curtain. This, however, produces a round disc of 
light, and it is necessary to cover all the rest of the curtain 
with stout paper, or anything that will darken all of it ex- 
cept the disc. This arrangement may be made for the per- 
formance of a single appropriate act with good success, but 
will not do generally as a substitute for the open light. 

As already stated, a little ingenuity will accomplish a 
great deal. Suppose Mr. Cox (in the preceding farce) to put 
on a profile hat (which can be made of card-board, to fasten 
on the head with a wire rim on one side of it), and the crown 
made eighteen inches high ; if about a foot of the upper part 
be rolled up, the hat will appear about six inches high ; the 
remainder can be unrolled, while on the wearer's head, by a 
stout stick (shorter than the width of the hat), fastened at 
right angles to a couple of feet of stout wire ; this little 
patent elevator can be concealed at the side of the perform- 
er until the moment comes for his hat to grow, it must then 
be carefully pushed upward, so as to unroll the crown of the 
hat, and will have a ludicrous effect. Of course Mr. Cox 
would have to take it off before turning round, as the profile 
view alone would be effective. The farce of Box and Cox 
has been arranged to suit the requirements, of the shadow 
curtain, not only with the view of affording a very enter- 
taining feature in the programme o£ an evening's fun, but 
also to show the manner in which almost any amusing 
theatrical piece may be adapted to this kind of entertain- 
ment. 

It would be well, incidentally, to remark, that for grown- 
up performers, the curtains should not be less than t^n feet 
high. Where the curtain is much less, smaller performers 
kre requisite. 



180 SHADOW ACTS AND PANTOMIMES. 

In conclusion, let nothing be undertaken in which there 
is the possibility of failure in any of the arrangements, rather 
attempt little and do it well, than too much and bungle in 
it. Always bear in mind that the individual in corpore is 
nothing ; the shadow everything. Do not be too sure that 
this little action or that bit of by-play will be all right 
when the' time comes ; try it once beforehand, and in all 
probability the trial will show how imperfect the attempt 
would have been. 

[Recollect that in rehearsal only can the performer be per- 
mitted to look at his own shadow ; as during the perform- 
ance, the profile must be constantly presented to the curtain, 
a position which will prevent him from witnessing the effect 
of his actions. 

It will take much practice to keep the shadows of two or 
more performers distinct on the curtain ; never allow one 
shadow to appear to touch another unnecessarily, and avoid, 
as far as possible, passing one another. If this must happen 
in the course of the piece, it cannot be done too quickly ; 
the same remark applies to turning round or reversing the 
profile. Let everything be done as close to the curtain as 
possible, but never so near as to touch it, and keep the curtain 
uniformly wet, by sponging it whenever an opportunity 
occurs. 

If these general directions be carefully followed, the per- 
formers will not fail to elicit their meed of applause at the 



CLOSE OF THE SHADOW PANTOMIME. 



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contains the same matter as ; ' Martine's Hand-book of Etiquette " and 
' ; Martine's Sensible Letter- writer," and, in fact, combines those two books 
bound together in one substantial volume of 373 pages SI 50 

Horse-taming by a Hew Method. As Practised by J. S. 

Rahey. A New and Improved Edition, containing Mr. Rarey's whole Se- 
cret of Subduing and Breaking Vicious Horses, together with his improved 
Plan of 'Managing Young Colts, and Breaking them to the Saddle, to 
Harness and the Sulky, with ten Engravings illustrating the process. 
Every person who keeps a horse should buy this book. It costs but a trifle, 
and you will positively find it an excellent guide in the management of that 
noble animal. This is a very handsome book of 64 pages. 
Price 12 ctS. 

Xnowlson's Farrier, and Complete Horse Doctor. We have 

printed a new and revised edition of this celebrated book, which contains 
Knowlson's famous Recipe for the Cure of Spavin, and other new matter. 
It is positively the best book of the kind ever written. We sell it cheap, 
because of the immense demand for it. The farmers and horse keepers like 
it because it gives them plain, common-sense directions how to manage 
their horses. We sell our new edition (04 pages, 18mo) cheap. 
Price 12 ctS. 

The Art of Conversation. With remarks on Fashion and 
Address. By Mrs. Mabeelt. This is the best book on the subject ever 
published. Ifc contains nothing that is verbose or difficult to understand, 
but ail the instructions and rules for conversation are given in a plain and 
common-sense manner, so that any one, however dull, can easily compre- 
hend them. 64 pages octavo, large. Price „ 25 ctS. 

Charley W bite's Joke Book. Being a perfect Casket of 

Eun, the first and only work of the kind ever published. Containing a full 
expose of all the most laughable Jokes, Witticisms, etc., as told" by the 
celebrated Ethiopian Comedian, Chabl.es White. 94 pages. 
Price ....7. 12cts- 

Black Wit and Darkey Conversations, By Chables 

White. Containing n. large collection of laughable Anecdotes, Jokes, 

Stories, Witticisms, and Darkey Conversations. 

Price.... 12cts. 

The Nightingale Songster ; or, Lyrics of Love. Containing 
104 Choice Sentimental Songs. Bound in boards, with cloth back, and 
illustrated cover. Price 50 cts. 

The Emerald ; or, Boole of Irish Melod'us. Containing a 
Choice Collection of Irish, Comic, and Sentimental Songs. 
Bound in boards, cloth back, and illustrated cover. Price 53 cts. 



Popular Books sent Free of Postage at the Prices annexed. 
The Book of 1,000 Comical Stories ; or, Endless Repast of 

Fun. A rich banquet for every day in the year, with several courses and a 
dessert. BILL OF FARE : Comprising Tales of Humor, Laughable An- 
ecdotes, Irresistible Drolleries, Jovial Jokes, Comical Conceits, Puns and 
Pickings, Quibbles and Queries, Bon Mots and Broadgrins, Oddities, Epi- 
grams, etc. Appropriately Illustrated with 300 Comic Engravings. By 
the author of " Mrs. Partington's Carpet-bag of Fun." 
Large 12mo., cloth. Price $1 50 

Mrs. Partington's Carpet-bag- of Eun. A collection of 

over one thousand of the most Comical Stories, Amusing Adventures, Side- 
splitting Jokes, Cheek-extending Poetry, Funny Conundrums, QUEER 
SAYINGS OF MRS. PARTINGTON, Heart-rending Puns, Witty Repar- 
tees, etc. The whole illustrated by about 150 comic wood-cuts. 

12mo., 300 pages, cloth, gilt. Price $1 25 

Ornamented paper covers 75 cts. 

How to Behave; or, The Spirit of Etiquette. A Complete 

Guide to Polite Society, for Ladies and Gentlemen ; containing rules for 
good behavior at the dinner table, in the parlor, and in the street ; with 
important hints on introduction, conversation, etc. 
Price 12 cts. 

Br. Valentine's Comic Metamorphoses. Being the second 

series of Dr. Valentine's Lectures, with Characters, as given by the late 
Yankee Hill. Embellished with numerous portraits. 

Ornamental paper cover. Price *. 75 cts, 

Cloth, gilt . $1 25 

Broad Grins of the Laughing 1 Philosopher. Being a Col- 
lection of Fjmny Jokes, Droll Incidents, and Ludicrous pictures. By 
Pickle the Younger. This book is really a good one. It is full of the 
drollest incidents imaginable, interspersed with good jokes, quaint sayings, 
and funny pictures. Price i3 cts. 

The Knapsack Full of Fun ; or, One Thousand Rations of 

Laughter. Illustrated with over 500 comical Engravings, and containing 
over one thousand Jokes and Funny Stories. By Doesticks and other 
witty writers. Large quarto. Price 30 cts. 

The Plate Of ChOWder; A Dish for Funny \ Fellows. Appro- 
priately illustrated with 100 Comic Engravings. By the author of "Mrs. 
Partington's Carpet-bag of Fun." 
12mo., paper cover. Price. 25 Cts. 

How to Talk and Debate; or, : Fluency of Speech Attained 

without the Sacrifice of Elegance and Sense. 

Price 12 cts. 

How to Dress with Taste, Containing Hints on the har- 
mony of colors, the theory of contrast, the complexion, shape or height. 
Price 12 cts- 

How to Cut and Contrive Children's Clothes at a Small 

Cost. With numerous and explanatory engravings. Price 12 cts. 

The Young Housekeeper's Book; or, How to Have a Good 

Living upon a Small Income. Price 12 cts. 

The Chairman and Speaker's Guide ; or, Rules for the Or- 
derly Conduct of Public Meetings. Price 12 c oS. 



Popular Book3 sont Tree of Postage at the Prices annexed. 



Dr. Valentine's Comic Lectures ; or, Morsels of Mirth for the 

Melancholy. A budget of Wit and Humor, and a certain cure for the blues 
and all other serious complaints. Comprising Comic Lectures on Heads, 
Faces, Noses, Mouths, Animal Magnetism, etc., with Specimens of Elo- 
quence, Transactions of Learned Societies, Delineations of Eccentric Char- 
acters, Comic Songs, etc. By Dr. W. Valentine, the favorite Delineatoi 
of Eccentric Characters. Illustrated with twelve portraits of Dr. V alen- 
tine, in his most celebrated characters. 

12mo., cloth, gilt. Price gl gg 

Ornamental paper cover. Price 75 cts. 

The Poet's Companion; A Dictionary of all Allowable Rhymes 

in the English Language. This is a book to aid aspiring genius in the Com- 
position of Rhymes, and in Poetical Effusions generally. It gives the Per- 
fect, the Imperfect, and the Allowable Rhymes, and will enable you to 
ascertain, to a certainty, whether any words can be mated. It is invaluable 
to any one who desires to court the muses, and is used by some of the best 
writers in the country. Price 25 cts. 

Ladies' Guide to Crochet. By Mrs. Ann S. Stephens. 

Copiously illustrated with original and very choice designs in Crochet, etc., 
printed in colors, separate from the letter-press, on tinted paper. Also 
with numerous wood-cuts, printed with the letter-press, explanatory of 
terms, etc. Bound in extra cloth, gilt. This is by far the best work on 
the subject of Crochet ever published. 
Price SI 25 

Chips from Uncle Sam's Jack Knife. Illustrated with 

over one hundred Comical Engravings, and comprising a collection of over 
five hundred Laughable Stories, Funny Adventures, Comic Poetry, Queer 
Conundrums, Terrific Puns, Witty Sayings, Sublime Jokes, and Sentimen- 
tal Sentences. The whole being a most perfect portfolio for those who love 
to laugh. Large octavo. Price 25 cts. 

Fox's Ethiopian Comicalities. Containing Strange Say- 
ings, Eccentric Doings, Burlesque Speeches, Laughable Drolleries, Funny 
Stories, interspersed with Refined Wit, Broad Humor, and Cutting Sar- 
casm, copied verbatim, as recited by the celebrated Ethiopian Comedian. 
With several Comic Illustrations. Price 12 cts. 

Mind Your Stops. Punctuation made plain, and Compo- 
sition simplified for Readers, Writers and Talkers. This little book is 
worth ten times the price asked for it, and will teach accurately in every- 
thing, from the diction of a friendly letter to the composition of a learned 
treatise. Price 12 cts. 

Hard Words Made Easy. Bules for Pronunciation and 

Accent; with instructions how to pronounce French, Italian, German, 
Danish, Dutch, Swedish, Norwegian, and other foreign names. A capital 
work. Price 12 cts. 

Bridal Etiquette ; A Sensible Guide to the Etiquette and 

Observances of the Marriage Ceremonies ; containing complete directions 
for Bridal Receptions, and the necessary rules for bridesmaids, groomsmen, 
sending cards, etc. Price 12 cts* 

The Universal Book of Songs. Comprising a choice col- 
lection of 400 new Sentimental, Scotch, Irish, Ethiopian and Comic Songs. 
12mo., cloth, gilt. Price <£1 25 

How to be Healthy ; Being a Complete Guide to Long 
Life. By a Retired Physician. Price -12 cts. 



Popular Books sent Free of Postage at the Prices annexed. 
The Finger-post to Public Business. Containing the 

mode of forming and conducting Societies, Clubs, and other Organized 
Associations ; full Rules of Order for the government of their debates and 
business ; Models of Constitutions, for Lyceums, Institutes, and other So- 
cieties. With rules of Cricket, Base-ball, Shinny, Quoits, Yachting and 
Bowing, and Instructions concerning Incorporations. Hints about Libra- 
ries and Museums, with a Catalogue of desirable Books, and a List of 
American Coins ; and Rules for the collection and preservation of- books, 
MSS., and objects of Curiosity. Rules for Debating, and a selection of 
specimens of style from various American orators. Together with an ap- 
pendix, containing the original Articles of Confederation of the United 
States, the Constitution, the celebrated Virginia and Kentucky Resolutions, 
and other documents of reference. By an Ex-Member of the Philadelphia 
Bar. 12mo., cloth. Price SI 50 

That's It ; or, Plain Teaching. By the author of u Inquire 
Within," " The Reason Why," etc. Illustrated with over 1200 wood-cuts. 
12mo., cloth, gilt side and back. This book is a perfect encyclopedia of 
universal information upon things common and uncommon, found in na- 
ture, art and science. The whole visible world is swept within the circuit 
of its touch, and the subjects are illustrated by wood engravings of an ex- 
cellent character, done in a high style of that art. It is a library in itself, 
and to a lad or miss of an inquiring tu^n of mind, it is a perfect Aladdin's 
palace of useful and interesting information. Price $1 50 

The Season Why: Natural History. By the author of 

" Inquire Within," " The Biblical Reason Why," etc. This volume an- 
swers about 1,500 questions, giving Reasons for hundreds of curious and 
interesting facts in connection with Natural History, and throwing a light 
upon the peculiar habits and instincts of the various orders of the Animal 
Kingdom. More real knowledge can be obtained from this book than from 
twenty dry works on the same subject. 
12mo., cloth, gilt side and back. Price SI 50 

Biblical Iteas:xi Why. A Hand-book for Biblical Stu- 
dents, and a Guide to Family Scripture Readings. Beautifully illustrated. 
Large 12mo., cloth, gilt side and back. This work gives 1,494 Reasons, 
founded upon the Bible, and assigned by the most eminent Divines and 
Christian Philosophers, for the great and all-absorbing events recorded in 
the History of the Bible, the Life of our Saviour and the Acts of his Apos- 
tles. Price . SI 50 

The Lady's Manual of Fancy Work. A Complete In- 
structor in every variety of Ornamental Needle-work, with a list of mate- 
rials and hints for their selection ; advice on making up and trimming. By 
Mrs. Pullan, Director of the Work-table of Frank Leslie's Magazine, etc. 
Illustrated with over 300 engravings, by the best artists, with eight large 
pattern plates, elegantly printed in colors, on tinted paper. Large octavo, 
beautifully bound in cloth, with gilt side and back stamp. Price — $2 00 

Harp of a Thousand Strings; or, Laughter for a Lifetime. 

A large book of nearly 400 pages. By the author of Mrs. Partington's 
Carpet-bag of Pun. Bound in a handsome gilt cover ; ocntaining more 
than a million laughs, and crowded full of funny stories, besides being 
illustrated with over 200 comical engravings, by DarWy, McLennan, Beilew, 
etc. Price $1 50 

The Dictionary of Love, Containing a Definition of all 

the Terms used in Courtship, with rare quotations from Poets of all Na- 
tions, together with specimens of curious Model Love Letters, and many 
other interesting matters appertaining to Love, never before published. 
12mo. , cloth, gilt side and back. Price Si 50 



Popular Books sent Pros of Postage at the Prices annexed. 
The Courtship and Adventures of Jonathan Homebred ; 

or, The Scrapes and Escapes of a Live Yankee. Beautifully Illustrated. 
12mo., cloth. This book is printed in handsome style, on good paper, and 
with amusing engravings. 
Price gl 50 

The Wizard of the North's Hand-Book of Natural 

Magic. Being a series of the Newest Tricks of Deception, arranged for 
Amateurs and Lovers of the Art. By Professor J. H. Anderson, the great 
"Wizard of the In orth. 
Price 25cts. 

The Encyclopaedia of Popular Songs, Being a compila- 
tion of all the new and fashionable Patriotic, Sentimental, Ethiopian, 
Humorous, Comic and Convivial Songs, the whole comprising over 400 
songs. 
12mo., cloth, gilt. Price <|1 25 

Tony Pastor's Book of 600 Comic Songs and Speeches. 

Being an entire collection of all the Humorous Songs, Stump Speeches, 
Burlesque Orations, Funny Scenes, Comic Duets, Diverting Dialogues, and 
Local Lyrics, as sung and given by the unrivaled Comic Vocalist and Stump 
Orator, Tony Pastok. 
Bound in boards, cloth back SI 00 

Yale College Scrapes ; or, Roto the Boys Go It at Neio Haven. 
This is a book of 114 pages, containing accounts of all the noted and fa- 
mous " Scrapes " and " Sprees," of which students at Old Yale have been 
guilty for the last quarter of a century. 
Price • 25ct& 

The Comic English Grammar ; or, A Complete Grammar of 

our Language, with Ccniic Examples. Illustrated with about fifty engrav- 
ings. Price ...25 cts. 

The Comical Adventures of David Dufficks. Illustrated 

with over one hundred Punny Engravings. Large octavo. 

Price 25 Cts. 

Anecdotes of Love. Being a true account of the most re- 
markable events connected with the History of Love in all Ages and among 
ail Nations. By Lola Montez, Countess of Landsfeldt. 
Large 12mo., cloth. Price SI 50 

Tony Pastor's Complete Budget of Comic Songs, Con- 
taining a complete collection of the New and Original Songs, Burlesque 
Orations, Stump Speeches, Comic Dialogues, Pathetic Ballads, as sung and 
given by the celebrated Vocalist, Tony Pastor. 
Cloth, gilt. Price gl 25 

The Laughable Adventures of Messrs. Brown, Jones and 

RohillSOXl. Showing where they went and how they went ; what they did 

and how they did it. "With nearly two hundred most thrillingly comic 

engravings. 

Price 30 Cts. 

Be Walden's Ball-Eoom Companion; or, Dancing Made 

Easy. A collection of the Fashionable "Drawing-Room Dances, with full 
directions for dancing all the figures of " The German/' By Emile DeAVal- 
den, Professor of Dancing. Bound in boards, cloth back 50 cts. 



Popular Song Books, seat Free of Postage. Pric3 Ten Cents each. 

This list of Song Books contains all kinds of Songs, embracing Love, Senti^ 
mental, Ethiopian, Scotch, Irish, Convivial, Comic, Patriotic, Pathetic, and 
Dutch Songs, besides a great variety of Stamp Speeches, Burlesque Orations 
Plantation Scenes, Irish, Dutch, and Yankee Stories, Comic Hecitations Co- 
nundrums and Toasts. ' 

HARRY RICHMOND'S MY YOUNG WIFE AND I SONGSTER. 10 Cta 

HARRY ROBINSON'S DON'T YOU WISH YOU WAS ME SONGSTER 10 '• * 

JOHNNY WILD'S WHAT AM I DOING SONGSTER ' 10 - 

BUELL'S KU-KLUX-KLAN SONGSTER 10 « 

FRANK KERN'S PRETTY LITTLE DEAR SONGSTER.... in " 

HARRY RICHMOND'S NOT-FOR-JOSEPH SONGSTER. 10 - 

DAVE REED'S SALLY-COME-UP SONGSTER l0 *•■ 

THEROOTLE-TUM TOOTLE-TUM TAY SONGSTER..'.'" "'in •■ 

SAM SLICK'S YANKEE SONGSTER ' '"in** 

CHAMPAGNE CHARLEY SONGSTER l0 *» 

JENNY EN GEL'S DEAR LITTLE SHAMROCK SONGSTER 10 " 

BILLY EMERSON'S NEW COMIC SONGSTER "l0 " 

BERRY'S LAUGH AND GROW FAT SONGSTER [.". in " 

TONY PASTOR'S BOWERY SONGSTER 10 « 

TONY PASTOR'S WATER- FALL SONGSTER ." in " 

TONY PASTOR'S 444 COMBINATION SONGSTER '..".'"lO " 

TONY PASTOR'S OPERA-HOUSE SONGSTER "i0 *• 

TONY PASTOR'S CARTE DE VISITE SONGSTER . "io " 

TONY PASTOR'S GREAT SENSATION SONGSTER 10 " 

TONY PASTOR'S OWN COMIC VOCALIST 10 " 

TONY PASTOR'S COMIC IRISH SONGSTER 10 " 

TONY PASTOR'S COMIC SONGSTER 10 " 

TONY PASTOR'S UNION SONGSTER 10 •• 

PADDY'S THE BOY SONGSTER 10 " 

BONNY DUNDEE SONGSTER , io " 

WILL CARLETON'S DANDY PAT SONGSTER 10 " 

BILLY EMERSON'S NANCY FAT SONGSTER 10 " 

HOOLEY'S OPERA HOUSE SONGSTER 10 ' 4 

SAM SHARPLEY'S IRON-CLAD SONGSTER , 10 " 

JOE ENGLISH'S COMIC IRISH SONGSTER 10 kl 

BODY MAGUIRE'S COMIC VARIETY SONGSTER 10 h * 

HARRY PELL'S EBONY SONGSTER 10 " 

FRANK BROWER'S BLACK DIAMOND SONGSTER 10 •» 

FRANK CONVERSE'S OLD CREMONA SONGSTER 10 " 

NELSE SEYMOUR'S BIG SHOE SONGSTER ...a0 t4 

THE LANIGAN'S BALL SONGSTER. 10 " 

TOM MOORE'S IRISH MELODIES 10 " 

BILLY HOLMES' COMIC LOCAL LYRICS.... 10 " 

FATTIE STEWART'S COMIC SONGSTER 10 " 

CHRISTY'S BONES AND BANJO SONGSTER 10 " 

GEORGE CHRISTY'S ESSENCE OF OLD KENTUCKY 10 " 

CHRISTY'S NEW SONGSTER AND BLACK JOKER 10 M 

THE CONVIVIAL SONGSTER 10 " 

HEART AND HOME SONGSTER 10 " 

BOB HART'S PLANTATION SONGSTER 10 " 

BILLY BIRCH'S ETHIOPIAN SONGSTER 10 " 

THE SHAMR^ "K; OR, SONGS OF IRELAND 10 " 

HARRISON'S COMIC SONGSTER 10 " 

THE CAMP-FIRE SONG BOOK.... 10 " 

THE CHARLEY O'MALLEY IRISH SONGSTER 10 " 

FRED MAY'S COMIC IRISH SONGSTER 10 " 

THE LOVE AND SENTIMENTAL SONGSTER.... 10 " 

THE IRISH BOY AND YANKEE GIRL SONGSTER 10 ' 4 

THE FRISKY IRISH SONGSTER 10 " 

GUS SHAW'S COMIC SONGSTER 10 " 

WOOD'S MINSTREL SONG BOOK 10 " 

WOOD'S NEW PLANTATION MELODIES 10 " 



DICK & FITZGERALD, 

PUBLISHERS, NEW YORK. 



%* The Publishers, upon receipt of the price, will send any of the following 
books by mail, postage free, to any part of the United States. In ordering 
books, the full name, post office, county and State should be plainly written. 



Wilson's Book of Recitations and Dialogues, 'With In- 
structions in Elocution and Declamation, Containing a choice selection of 
Poetical and Prose Recitations and Original Colloquies. Designed as a 
Heading Book for Classes, and as an Assistant to Teachers and Students m 
preparing Exhibitions. By Floyd B. Wilson, Professor of Elocution. 
This collection has been prepared with a special view to the development of 
the two cardinal principles of true Elocution— Voice and Action, and include 
a large proportion of Recitations and Dialogues, Which appear for the first 
time in this form. The Colloquies are entirely original. 

Paper covers. Price SO cts. 

Bound in boards, cloth back 50 CtS. 

[Frost's Dialogues for Young Eolks. A collection of Orig- 
inal Moral and Humorous Dialogues. Adapted to the use of School and 
Church Exhibitions, Family Gatherings, and Juvenile Celebrations on all 
Occasions. By S. A. Frost, author of " Frost's Original Letter Writer," 
etc. This collection of Dialogues is just what has long been wanted— it 
contains a variety that will suit every taste ; some^of the subjects are hu- 
morous, some satirical, hitting at the follies of vice and fashion, while others 
are pathetic, and all are entertaining. A few of the Dialogues are long 
enough to form a sort of little drama that will interest more advanced 
scholars, while short and easy ones abound for the use of quite young chil- 
dren. Most of the Dialogues introduce two or three characters only, but 
some require a greater number. The subjects chosen will, it is hoped, be 
found useful in conveying sound moral instruction as well as giving the op- 
portunity to display memory and vivacity in rendering them. 

Paper covers. Price 30 cts, 

Bound in boards, cloth back, side in colors 50 cts. 

The Parlor Stage. A Collection of Drawing-Koom Pro- 
verbs, Charades and Tableaux Vivants. By Miss S. A. Frost. The authoress 
of this attractive volume has performed her task with skill, talent, and we 
might say, with genius ; for the Acting Charades and Proverbs are really 
minor dramas of a high order of merit. There are twenty-four of them, and 
fourteen Tableaux, all of which are excellent. The character are admirably 
drawn, well contrasted, and the plots and dialogues much better than those 
of many popular pieces performed at the public theatres. Any parlor with 
folding or sliding doors is suitable for their representation (or, if there are 
no sliding or folding doors, a temporary curtain will answer). The dresses 
are all those, of modern society, and the scenery and properties can be easily 
provided from the resources of almost any family residence in town or coun- 
try. The book is elegantly got up, and we commend it heartily to young 
gentlemen and ladies who wish to beguile the long winter evenings with a 
species of amusement at once interesting, instructive and amusing. 
368 pages, small Bvo, cloth, gilt side and back, beveled edges. Price. T&1 50, 



Popular Books sent Free of Postage at the Prices annexed. 

- — ' m ; ! 

Brudder Bones' Book of Stump Speeches and Burlesque 

Orations. Also containing Humorous Lectures, Ethiopian Dialogues, Plan- 
tation (Scenes, Negro Farces and Burlesques, Laughable Interludes and Com- 
ic Recitations, interspersed with Dutch, Irish, French and Yankee Stories. 
Compiled and edited by John F. Scott. This book contains some of the 
best hits of the leading negro delineators of the present time, as well as 
mirth-provoking jokes and repartees of the most celebrated End-Men of the 
day, and specially designed for the introduction of fun in an evening's en- 
tertainment. Paper covers. Price 30 cts. 

Bound in boards, illuminated 50 cts. 

Frost's Original Letter- Writer. A complete collection of 

Original Letters and Notes, upon every imaginable subject of Every-Day 
Life, with plain directions about everything connected with writing a letter. 
Containing Letters of Introduction, Letters on Business, Letters answering 
Advertisements, Letters of Recommendation, Applications for Employment, 
Letters of Congratulation, of Condolence, of Friendship and Relationship, 
Love Letters, Notes of Invitation, Notes Accompanying Gifts, Letters of 
Favor, of Advice, and Letters of Excuse, together with an appropriate 
answer to each. The whole embracing three hundred letters and notes. By 
S. A. Frost, author of " The Parlor Stage,' 1 " Dialogues for Young Folks," 
etc. To which is added a comprehensive Table of Synonyms alone worth 
double the price asked for the book. This work is not a rehash of English 
writers, but is entirely practical and original, and suited to the wants ot the . 
American public. We assure our dreaders that it is the best collection of 
letters ever published in this country. Bound in boards, cloth back, with 
illuminated sides. Price 50 cts. 

Inquire Within for Anything you Want to Know ; or, Over 

3,700 Fads for the People. " Inquire Within " is one of the most valuable 
and extraordinary volumes ever presented to the American public/and 
embodies nearly 4,000 facts, in most of which any person will find instruc- 
tion, aid and entertainment. It contains so many valuable recipes, that 
an enumeration of them requires seventy-tioo columns of fine type for the 
index. Illustrated. 436 large pages. Price %\ 50 

The Sociable ; or, One Thousand, and One Home Amusements. 
. Containing Acting Proverbs, Dramatic Charades, Acting Charades, Tableaux 
Vivants, Parlor Games and Parlor Magic, and a choice collection of Puzzles, 
etc., illustrated with nearly 300 Engravings and Diagrams, the whole being 
a fund of never-ending entertainment. By the author of the " Magician's 
Own Book." Nearly 400 pages, 12 mo. cloth, gilt side stamp. Price. .$1 50 

KEartixie's Hand-Book of Etiquette and Guide to True Po- 
liteness. A complete Manual for all those who desire to understand good 
breeding, the customs of good society, and to avoid incorrect and vulgar 
habits. Containing clear and comprehensive directions for correct manners, 
conversation, dress, introductions, rules for good behavior at Dinner. Parties 
and the table, with hints on wine and carving at the table ; together with 
Etiquette of the Ball and Assembly Room, Evening Parties, and the usages 
to be observed when visiting or receiving calls; deportment in the street 
and when travelling. To which is added the Etiquette of Courtship and 

Marriage. Bound in boards, with cloth back. Price 50 cts. 

Bound in cloth, gilt side 75 cts. 

Day's American Keady-Keckoner, containing Tables for 

rapid calculations of Aggregate Values, "Wages, Salaries, Board, Interest 
Money, &c, &c. Also, Tables of Timber, Plank, Board and Log Measure- 
ments, with full explanations how to measure them, either by the square 
foot (board measure), cubic foot (timber measure), &c. Bound in boards. 

Price .50 cts. 

Bound in cloth 75 cts- 



Popular Books sent Free of Postage at the Prices annexed. 

Spencer's Book of Comic Speeches and Humorous Recita- 
tions- -A- collection of Comic Speeches and Dialogues, Humorous Prose and 
Poetical Recitations, Laughable Dramatic Scenes and Burlesques, and Ec- 
centric Characteristic Soliloquies and Stories. Suitable lor School Exhibi- 
tions and Evening Entertainments. Edited by Albert J. Spencer. This 
is the best book of Comic Recitations that has ever been published, and 
commands a large sale on account of its real merit. It is crammed full of 
Comic Poetry, Laughable Lectures, Irish and Dutch Stories, Yankee Yarns, 
Negro Burlesques, Short Dramatic Scenes, Humorous Dialogues, and ail 
kinds of Funny Speeches. 

Paper covers. Price 30 cts. 

Bound in boards, cloth back 50 Cts. 

Marache's Manual Of Chess- Containing a description of 
the Board and the Pieces, Chess Notation, Technical Terms with diagrams 
illustrating them, Relative Value of the Pieces, Laws of the Game, General 
Observations on the Pieces, Preliminary Games for Beginners, Fifty Open- 
ings of Gaines, giving all the latest discoveries of Modern Masters, with 
best games and copious notes. Twenty Endings of Games, showing easiest 
ways of effecting Checkmate. Thirty-six ingenious Diagram Problems, 
and Sixteen curious Chess Stratagems. To which is added a Treatise on 
the Games of Backgammon, Russian Backgammeft and Dominoes, the 
whole being one of the best Books for Beginners ever published. By N. 
Marache, Chess Editor of " Wilkes' Spirit of the Times." 

Bound in boards, cloth back. Price 50 Cts. 

Cloth, gilt side . : 75 cts. 

Martinet Sensible Letter Writer ; Being a comprehensive 

and complete Guide and Assistant for those who desire to carry on Episto- 
lary Correspondence ; Containing a large collection of model letters, on the 
simplest matters of life, adapted to all ages and conditions, 

EMBRACING, 



Letters of Courtesy, Friendship and 
Affection ,* 

Letters of Condolence and Sympathy ; 

A Choice Collection of Love Letters, for 
Every Situation in a Courtship ; 

Notes of Ceremony, Familiar Invita- 
tions, etc., together with Notes of Ac- 
ceptance and Regret. 



Business Letters ,* 

Applications for Employment, with 

Letters of Recommendation, and An- > 

swers to Advertisements : 
Letters between Parents and Children ; 
Letters of Friendly Counsel and Re- . 

monstrance ; 
Letters soliciting Advice, Assistance 

and Friendly Favors ; 
The whole containing 300 Sensible Letters and Notes. This is an invalua- 
ble book for those persons who have not had sufficient practice to enable 
them to write letters without great effort. It contains such a variety of 
letters, that models may be found to suit every subject. Bound in 'boards, 

with illuminated cover and cloth back, 207 pages. Price 50 cts. 

Bound in cloth -, 75 qIq\ 

The Perfect Gentleman. A book of Etiquette and Elo- 
quence. Containing Information and Instruction for those who desire to 
"become brilliant or conspicuous in General Society, or at .Parties, Dinners, 
or Popular Gatherings, etc. It gives directions how to use wine at table, 
with Rules for judging the quality thereof, Rules for Carving, and a com- 
plete Etiquette of the Dinner Table, including Dinner Speeches, Toasts 
and Sentiments, "Wit and Conversation at Table, etc. It has also an 
American Code of Etiquette and Politeness for all occasions. Model 
Speeches, with Directions how to deliver them. Duties of the Chairman 
at Public Meetings. Forms of Preambles and. Resolutions, etc. It is a 
handsomely bound and gilt volume of 335 pages. 

**«<*•. : $150 



Popular Books sent Frsa of Postage at the Prices annexed. 

Hillgrove's Ball-room Guide and Complete Dancing-mas- 
ter* Containing a plain treatise on Etiquette and Deportment at Balls 
and Parties, with valuable hints on Dress and the Toilet, together v/ith lull 
explanations of the Rudiments, Terms, Figures and Steps used in Dancing, 
including clear and precise instructions how to dance all kinds of Quad- 
rilles, Waltzes, Polkas, Redowas, Reels, Round, Plain and Fancy Dances, 
so that any person may learn them without the aid of a teacher ; to which 
is added, easy directions for calling out the Figures of every dance, and the 
amount of Music required for each. The whole illustrated with 178 de- 
scriptive engravings and diagrams. By Thomas Hillgrove, Professor of 
Dancing. 

Bound in cloth, with gilt side and back. Price gl 00 

Bound in boards, cloth back 75 cts. 

Wright's Book of 8,000 American Eeeeipts ; or, L'.gM- 

House of Valuable Information. Containing over 3,000 Receipts in all the 
Useful and Domestic Arts— including Cooking, Confectionery, Distilli&g, 
Perfumery, Chemicals, Varnishes, Dyeing, Agriculture, etc. Embracing 
valuable secrets that cannot be obtained from any other source. No exer- 
tion or expense has been spared to make tliis work as comprehensive and 
accurate as possible. Many Receipts will be found in it that have never 
' before appeared in print in this country. Some idea may be formed of its 
value in the latter respect, when it is stated that the compiler has been for 
many years engaged in collecting rare and valuable Receipts from numer- 
ous languages besides the English. This is by far the most valuable Ameri- 
can Receipt Book that has ever been published. 
12mo., cloth, 359 pages. Price $1 50 

The Modem Pocket Hoyle. Containing all the Games of 
Skill and Chance, as played in this country at the present time ; being an 
•* authority on all disputed points." By " Thumps." This valuable manual 
is all original, or thoroughly revised, from the best and latest authorities, 
and includes the laws and complete directions for playing one hundred and 
eleven different games, comprising Card games, Chess, Checkers, Dominoes, 
Backgammon, Dice, Billiards, and all the Field Games. 388 pages. 

Paper covers. Price. 50 cts. 

Bound in boards, cloth back.. . • • -75 cts. 

Bound in cloth, gilt side and back SI 25 

Richardson's Monitor of Free-Masonry. A Complete 

Guide to the various Ceremonies and Routine in Free-Mason's Lodges. 
Chapters, Encampments, Hierarchies, etc., in all the Degrees, whether 
Modern, Ancient, Ineffable, Philosophical or Historical. Containing, also, 
the Signs, Tokens, Grips, Pass-words, Decorations, Drapery, Dress, Regalia 
and Jewels, in each Degree. Profusely illustrated with Explanatory En- 
gravings, Plans of the Interior of Lodges, etc. By Jabez Richardson, 
A. M. A book of 185 pages. 

Bound in paper covers. Price 50 cts. 

Bound and gilt SI 00 

Earey and Knowlson's Complete Horse-tamer and Far- 
rier. A Ne w an(i Improved Edition, containing Mr. Rarey's whole Secret 
of Subduing and Breaking Vicious Horses, together with his Improved 
Plan of Managing Young Colts, and breaking them to the Saddle, the 
Harness and the Sulky, with Rules for selecting a good Horse, for Feeding 
Horses, etc. Also, The Complete Farrier ; or, Horse Doctor ; a Guide 
for the Treatment of Horses in all Diseases to which that noble animal is 
liable, being the result of fifty years' extensive practice of the author, 
John C. Knowlson, during his* life an English Farrier of high popularity, 
containing the latest discoveries in the Cure of Spavin. Illustrated with 
descriptive Engravings. 
Bound in boards, cloth back. Price... ...v-50 ct3- 



Popular Books sent Free of Postage at the Prices annexed , 

The American Home Cook Book. Containing several hun- 
dred excellent Recipes. The whole based on many years' experience of an 
American Housewife. Illustrated with Engravings. All the Recipes m 
this book are written from actual experiments in Cooking. There are no 
copyings from theoretical cooking recipes. 

Bound in boards, cloth back. Price 50 cts. 

Bound in paper covers. Price 30 cts. 

Amateur Theatricals and Fairy-Tale Dramas. A collection 

of original plays, expressly designed for Drawing-room performance. By 
S. A. Frost. This work is designed to meet a want, which has been long 
felt, of short and amusing pieces suitable to the limited stage of the private 
parlor. The old friends of fairy-land will be recognized among the Fairy- 
Tale Dramas, newly clothed and arranged. 

Paper covers. Price SO cts. 

Bound in boards, with cloth back 50 cts. 

Parlor Trieks With Cards. Containing explanations of 

Tricks and Deceptions with Playing Cards, embracing Tricks with Cards 
performed by Sleight-of-hand, by the aid of Memory, Mental Calculation 
and Arrangement of the Cards, by the aid of Confederacy ; and Tricks 
performed by the aid of Prepared Cards. The whole illustrated and made 
plain and easy, with 70 engravings. This book is an abridgment of our 
large work, entitled " The Secret Out." 

Paper covers. Price 30ctS« 

Bound in boards, with cloth back 50 etS« 

Chesterfield's Letter-writer and Complete Book of Eti- 
quette J or > Concise, Systematic Directions for Arranging and Writing Letters. 
Also, Model Correspondence in Friendship and Business, and a great variety 
of Model Love Letters. This work is also a Complete Book of Etiquette. 
There is more real information in this book than in half a dozen volumes 
of the most expensive ones. 
Bound in boards, with cloth back. Price 35 Cts. 

Frank Converse's Complete Banjo Instructor. Without a 

Master. Containing a choice collection of Banjo Solos, Hornpipes, Reels, 
Jigs, Walk Arounds, Songs, and Banjo Stories, progressively arranged and 
plainly explained. Bound in boards, with cloth back. Price 50 cts. 

The Magician's Own Book, Containing several hundred 

amusing Sleight-of-hand and Card Tricks, Perplexing Puzzles, Entertain- 
ing Tricks and Secret Writing Explained. Illustrated with over 500 wood 
engravings. 12mo., cloth, gilt side and back stamp. Price SI 50 

North's Book of Love Letters, With Directions how to 

write and when to use them, and 120 specimen Letters, suitable for Lovers 
of any age and condition, and under ail circumstances. Interspersed with 
the author's comments thereon. The whole forming a convenient hand- 
book of valuable information and counsel for the use of those who need 
friendly guidance and advice in matters of Love, Courtship and Marriage. 
By Ingoldsby North. This book is recommended to all who are from any 
cause in doubt as to the manner in which they should write or reply to let- 
ters upon love and courtship. The reader will be aided in his thoughts— he 
will see where he is likely to please and where to displease, how to begin 
and how to end his letter, and how to judge of those nice shades of expres- 
sion and feeling concerning which a few mistaken expressions may create 
misunderstanding. All who wish not only to copy a love letter, but to learn 
the art of writing them, will find North's book a very pleasant, sensible and 
friendly companion. It is an additional recommendation that the variety 

offered is very large. Cloth. Price 75 cts. 

Bound in boards 50 cts. 



Popular Books sent Free of Postage at the Prices annexed. 

The Parlor Magician ; or, One Hundred Tricks for the Draw- 
ing-Room, containing an Extensive and Miscellaneous Collection of Conjur- 
ing and Legerdemain ; Sleights with Dice, Dominoes, Cards, Ribbons, 
Rings, Fruit, Coin, Balls, Handkerchiefs, etc., all of which may be per- 
formed in the Parlor or Drawing- Room, without the aid of any apparatus ; 
also embracing a choice variety of Curious Deceptions, which may be per- 
formed with the aid of simple apparatus ; the whole illustrated and clearly 

explained with 121 engravings. Paper Covers. Price 30 cts, 

Bound in boards, with cloth back 50 cts. 

Book of Riddles and Five Hundred Home Amusements. 

Containing a Choice and Curious Collection of Riddles, Charades, Enigmas, 
Rebuses, Anagrams, Transpositions, Conundrums, Amusing Puzzles, Queer 
Sleights, Recreations in Arithmetic, Fireside Games and Natural Magic, 
embracing Entertaining Amusements in Magnetism, Chemistry, Second 
Sight and Simple Recreations in Science for Family and Social Pastime, il- 
lustrated with sixty Engravings. Paper covers. Price 30 cts. 

Bound in boards, with cloth back 50 cts. 

Book Of Fireside Games. Containing an Explanation of the 
most Entertaining 1 Games suited to the Family Circle as a Recreation, such 
as Games of Action, Games which merely require- attention, Games which 
require memory, Catch Games, which have for their objects Tricks or Mysti- 
fication, Games in which an opportunity is afforded to display Gallantry, 
Wit, or some slight knowledge of certain Sciences, Amusing Forfeits, Fire- 
side Games for Winter Evening Amusement, etc. 

Paper covers. Price. 30 cts- 

Bound in boards, with cloth back 50 cts. 

Parlor Theatricals ; or, Winter Evenings' Entertainment. Con- 
taining Acting Proverbs, Dramatic Charades, Acting Charades, or Draw- 
ing-Room Pantomimes, Musical Burlesques, Tableaux Vivants, etc.; with 
Instructions for Amateurs ; how to Construct a Stage and Curtain ; how to 
get up Costumes and Properties ; on the " Making up " of Characters ; 
Exits and Entrances; how to arrange Tableaux, etc. Illustrated with 

Engravings. Paper covers. Price 30 cts. 

Bound in boards, cloth back... 50 cts. 

The Book of 599 Curious Puzzles. Containing a large col- 
lection of entertaining Paradoxes, Perplexing Deceptions in numbers, and 
Amusing Tricks in Geometry. By the author ot " The Sociable," " The Se- 
cret Out," " The Magician's Own Book.". Illustrated with a great variety 
of Engravings. T/his book commands a large sale. It will furnish fun and 

amusement for a whole winter. Paper covers. Price 30 cts. 

Bound in boards, with cloth back 50 cts. 

The above five books are compiled from the " Sociable " and " Magician's 

Own." 

The American Boys' Book of Sports and Games, A Eeposi- 

t or y of In and Out-Door Amusements for Boys and Youth. Illustrated 
with nearly 700 engravings, designed by White, Herrick, Weir and Harvey, 
and engraved by N. Orr. This is, unquestionably, the most attractive and 
valuable book of its kind ever issued in this or any'other country. It has- 
been three years in preparation, and embraces all the sports and games that 
tend to develop the physical constitution, improve the mind and heart, and 
relieve the tedium of leisure "hours, both in the parlor and the field. The 
Engravings are all in the finest style of art, and embrace eight full-page 
ornamental titles, illustrating the several departments of the work, beauti- 
fully printed on tinted paper. The book is issued in the best style, being 
printed on fine sized paper, and handsomely bound.. Extra cloth, gilt side 

and back, extra gold. Price $3 50 

Extra cloth, full gilt edges, back and side <?>4 §0 



Popular Books sent Free of Postage at the Prices annexed. 

Book of Household Pets. Containing valuable instructions 

about the Diseases, Breeding, Training and Management of the Canary, 
Mocking Bird, Brown Thrush, or Thrasher, and other birds, and the rearing 
and management of all kinds of Pigeons and Fancy Poultry, Rabbits, Squir- 
rels, Guinea Pig«, White Mice, and Dogs ; together with a Comprehensive 
Treatise on the Principle and Management of the Salt and Fresh Water 
Aquarium. Illustrated with 123 fine wood-cuts. 

Bound in boards. Price 50 cts- 

Bound in cloth, gilt side 75 cts- 

Athletic Sports for Boys. A Kepository of Graceful Ee- 
creations for Youth, containing clear and complete instructions in Gymnas- 
tics, Limb Exercises Jumping, Pole Leaping, Dumb Bells, Indian Clubs, 
Parallel Cars, the Horizontal Bar, the Trapeze, the Suspended Popes, Skat- 
ing, Swimming, Bowing, Sailing, Horsemanship, Biding, Driving, Angling, 
Fencing and Broadsword. The whole splendidly illustrated with 194 fine 
wood-cuts and diagrams. 

Bound in boards, with cloth back. Price 75 Cts- 

Bound in cloth, gilt side SI 00 

The Flay-Eoom; or, In-Boor Games for Boys and Girls ; in- 
cluding Bound Games and Forfeits, Slate and Board Games ; also numerous 
Table and Toy Games, together with a large collection of Evening Amuse- 
ments, Comprehending Comic Diversions, Parlor Magic, Tricks with Cards, 
Scientific Recreations and Puzzles. Profusely illustrated with 197 fine wood 

cuts. Bound in boards, with cloth back. Price 50 cts 

Bound in cloth, gilt side 75 Cts 

The Play-Ground ; or, Out-Door Games for Boys. A Book of 
Healthy Recreations for Youth, containing over a hundred Amusements, 
including Games of Activity and Speed ; Games with Toys, Marbles, Tops, 
Hoops, Kites. Archery, Balls ; with Cricket, Croquet and Base-Ball. Illus- 
trated with 124 wood-cuts. Bound in boards. Price 50 cts- 

Bound iri cloth, gilt side 75 Cts, 

The above four books are abridged from the "American Boy's Book of 
Sports and Games." 

The Young Exporter ; or, How to Write Short-Hand. A com- 
. plete Phonographic Teacher, intended to afford thorough instruction to 
those who have not the assistance of an Oral Teacher. By the aid of this 
work, any person of the most ordinary intelligence may learn to write Short- 
Hand, and Report Speeches and Sermons in a short time. Bound in boards, 
with cloth back. Price 50 cts. 

Barton's Comic Excitations and Humorous Dialogues, 

Containiug a variety of Comic Recitations in Prose and Poetry, Amusing 
Dialogues, Burlesque Scenes, Eccentric Orations and Stump Speeches, Hu-. 
morons Interludes and Laughable Farces. Designed for School Commence-i 
ments and Amatevr Theatricals. Edited by Jekome Barton. This is the 
best collection of Humorous pieces, especially adapted to the parlor stage, 

that has ever been published. Illuminated paper cover. Price 30 cts- 

Bound in boards, with cloth back 50 cts 

The Secret Out ; or, One Thousand Tricks with Cards, and 

other Recreations. Illustrated with over Three Hundred Engravings. A 
book which explains all the Tricks and Deceptions with Playing Cards cvei' 
known, and gives, besides, a great many new ones— the whole being de- 
scribed so carefully, with engravings to illustrate them, that anybody can 
easily learn how to perform them. " This work also contains 240 of the best 
Tricks in Legerdemain, in addition to the card tricks. 12mo., 400 pages, 
bound in cloth, with gilt side and back. Price $1 50 



Popular Books sont Free of Postage at the Prices annexed. 

— «g < 

Duncan's Masonic BAtual and Monitor; or, Guide to the 

Three Symbolic Degrees of the Ancient York Rite, Entered Apprentice, Fellow 
Craft, and Master Mason. And to the Degrees of Mark Master, Past Mas- 
ter,' Most Excellent Master, and the Royal Arch. By Mal.com C. Duncan. 
Explained and Interpreted by copious Notes and numerous Engravings. 
It is not so much the design of the author to gratify the curiosity of the 
uninitiated, as to furnish a Guide to the Younger Members of the Order, 
by means of which their progress from grade to grade may be facilitated. 
It is a well-known fact that comparatively few of the fraternity are " Bright 
Masons," but with the aid of this invaluable Masonic Companion any Ma- 
son can, in a short time, become qualified to take the Chair as Master of a . 
Lodge. Nothing is omitted in it that may tend to impart a full under- 
standing of the, principles of Masonry. This is a valuable book for the 
Fraternity, containing, as it does, the Modern " WoitK " of the order. No 
Mason should be without it. It is entirely different from any other Ma- 
sonic book heretofore published. 

Bound in cloth. Price .*. . .%2 50 

Leather tucks (Pocket-book Style), with gilt edges. Price 3 00 

** Trumps' " American Hoyle ; or, Gentleman's Hand-booh of 
Games. Containing clear and complete descriptions of all the Games played 
in the United States, with the American Rules for playing them ; including 
Whist, Euchre, Bezique, Cribbage, All-Fours, Loo, Poker, Brag, Piquet, 
Ecarte, Boston, Cassino, Chess, Checkers, Backgammon, Dominoes, Bil- 
liards, and a hundred other Games. This work is designed to be an Ameri- 
can authority in all games of skill and chance, and will settle any disputed 
point. It has been prepared with great care by the editor, with the assist- 
ance of a number of gentlemen players of skill and ability, and is not a 
re-hash of English Games, but a live American book, expressly prepared 
for American readers. The American Hoyle contains 525 pages, is printed 
on fine white paper, bound in cloth, with beveled boards, and is profusely 
illustrated with engravings explaining the different Games. 
Price g2 00 

Brisbane's Golden Beady Reckoner. Calculated in Dollars 

and Cents, being a useful Assistant to Traders in buying and, selling vari- 
ous commodities, either wholesale or retail, showing at once the amount or 
value of any number of articles, or quantity of goods, or any merchandise, 
either by the gallon, quart, pint, ounce, pound, quarter, hundred, yard, 
loot, inch, bushel, etc., in an easy and plain manner. To which are added 
Interest Tables, calculated in dollars and cents, for days and for months, at 
six per cent, and at seven per cent, per annum, alternately ; and a great 
number of other Tables and Pules for calculation never before in print. 
1'y "William D. Brisbane, A. M., Accountant, Book-keeper, etc. 
Bound in boards, cloth back. Price. . . . V* 35 Cts. 

The Indian Club Exercise. "With explanatory figures and 
positions, photographed from life ; also, general remarks on Physical Cul- 
ture. Illustrated with portraitures of celebrated athletes, exhibiting great 
muscular development from the Club Exercise, engraved from photographs, 
expressly for this work. By Sim. D. Kehoe. 

« Quarto, cloth. Price $2 50 

Live and Learn. A Guide for all who wish to Speak and 
Write correctly. Containing examples of one thousand mistakes of daily 
occurrence, in speaking, writing and pronunciation. 
216 pages, cloth, small octayo. Price 75 Cts* 

Mrs. Crowen's American Lady's Cookery Book. Contain- 
ing over 1,200 original receipts for preparing and cooking all kinds of dishes. 
The most popular Cook Book ever published. 
12mo. ? cloth, 474 pages $2 00 



Popular Books sent Free of Postage at tlie Prices annexed. 
Spayth's Draughts or Checkers for Beginners. Being a 

comprehensive Guide for those who desire to learn the Game. This treatise 
■was written by Henry Spayth, the celebrated player, and is by far the 
most complete and instructive elementary work on Draughts ever published. 
It is profusely illustrated with diagrams of ingenious stratagems, curious 
positions, and perplexing problems, and contains a great variety of inter- 
esting and instructive Games, progressively arranged and clearly explained 
with notes, so that the learner may easily comprehend them. "With the 
aid of this valuable Manual, a beginner may soon master the theory of 
Checkers, and will only require a little practice to become proficient in the 
Game. Cloth, gilt side. Price 75 cts. 

The Eeason Why of General Science, A careful collec- 
tion of gome thousands of Eeasons for things, which, though generally 
known, are imperfectly understood. Being a book of Condensed Sci- 
entific Knowledge. It is a complete Encyclopedia of Science; and per- 
sons who have never had the advantage of a liberal education may, by the 
aid of this volume, acquire knowledge which the study of years only would 
impart in the ordinary course. It explains everything in Science that can 
be thought of, and the whole is arranged with a full index. A large vol- 
ume of 346 pages, bound in muslin, gilt, and illustrated with numerous 
wood-cuts. Price » . . ,,.... -SI 50 

De Walden's Ball-room Companion ; or, Dancing Made 

Easy. A Complete Practical Instructor in the art of Dancing, containing 
all the fashionable and approved Dances, directions for calling the Figures, 
etc. By Emils De Walden, Teacher of Dancing. This book gives in- 
struction in Deportment, Rudiments and Positions, Bows and Courtesies, 
Fancy Daucing, Quadrilles, Waltzes, Minuets, Jigs, Spanish Dances, Pol- 
lea, Schottische, Galop, Deux Temps, Danish, Eedowa, Varsovienne, Hop, 
etc., together with all the newest Waltzes and Quadrilles in vogue. It also 
contains complete directions for all the figures of the celebrated "German " 
or Cotillion. Bound in boards, cloth back. Price 50 cts* 

The Game of Draughts, or Checkers, Simplified and Ex- 

plained. With practical Diagrams and Illustrations, together with a 
Checker-Board, numbered and printed in red. Containing the Eighteen 
Standard Games, with over 200 of the best variations, selected from the 
various authors, together with many original ones never beiore published. 

By D. SCATTEKGOOD. 

Bound in cloth, with flexible covers. Price. 50 CtSo 

Courteney's Dictionary of Abbreviations ; Literary, Scien- 
tific, Commercial, Ecclesiastical. "*filitary, Naval, Legal and Medical. A 
book of reference — 3,000 abbrevia. .jns— for the solution of all literary mys- 
teries. By Edward S. C. Courteney, Esq. This is a very useful book. 
Everybody should get a copy. Price * * . .12 cts« 

How to Detect Adulteration in Our Daily Tood and Brink. 

A complete analysis of the frauds and deceptions practised upon articles 
of consumption, by storekeepers and manufacturers ; with full directions 
to detect genuine from spurious, by simple and inexpensive means. 
Price 12 cts. 

Blunders in Behavior Corrected. A Concise Code of De- 
portment for both sexes. Price 12 cts« 

"It will polish and refine either sex, and is Chesterfield* superseded." — 
Home Companion. 

Five Hundred French Phrases. Adapted for those who 

aspire to speak and write French correctly. Price , 12 cts. 



Popular Books ssnt Free of Postage at the Prices annexed. 

The Sociable ; or, One Thousand and One Home Amusements. 
Containing Acting Proverbs, Charades, Musical Burlesques, Tableaux 
Vivants, Parlor Games, Forfeits, Parlor Magic, and a choice collection of 
curious mental and mechanical puzzles, etc. Illustrated with engravings 
and diagrams. 
12mo., cloth, gilt side stamp. Price $1 50 

Frank Converse's Complete Banjo Instructor, without a 

Master. Containing a choice collection of Banjo Solos, Hornpipes, Keels, 
Jigs, Walk-Arounds, Songs and Banjo Stories, progressively arranged and 
plainly explained, enabling the learner to become a proficient ban joist with- 
out the aid of a teacher. Illustrated with diagrams and explanatory sym- 
bols. 100 pages. Bound in boards, cloth back. Price 50 cts. 

The Magician's Own Book. Containing several hundred 
amusing Sleight-of-hand and Card Tricks, Perplexing Puzzles, Entertain- 
ing Tricks and Secret Writing Explained. Illustrated with over 500 wood 
engravings. 
12mo., cloth, gilt side and back stamp. Price $1 50 

The Secret Ollt ; or, One Thousand Tricks with Cards. A book 
which explains all the Tricks and Deceptions with Playing Cards ever 
known or invented. Illustrated with over 360 engravings. 
398 pages, 12mo., cloth, gilt side. Price SI 50 

Book of Riddles and 500 Home Amusements- Containing 

all kind j of Curious Piddles, Amusing Puzzles, Queer Sleights and Enter- 
taming Recreations in Science, for Family and Social Pastime. Illustrated 

with 60 engravings. Paper covers. Price. . . , 30 cts. 

Bound in boards, cloth back 50 cts- 

Parlor Tricks With Cards. Containing explanations of all 
the Deceptions with Playing Cards ever invented. The whole illustrated 
and made easy with 70 engravings. 

Paper covers. Price 30 cts* 

Bound in boards, cloth back 50 cts. 

The Book Of Fireside Games. Containing a description 
of the most Entertaining Games suited to the Family Circle as a Pecrea- 

tion. Paper covers. Price 30 cts- 

Bound in boards, cloth back 50 cts- 

The Play-Room \ or, In-Door Games for Boys and Girls. Small 
octavo, profusely illustrated with 197 fine wood-cuts. 

Bound in boards, cloth back. Price 50 cts. 

Bound in cloth, gilt side 75 cts. 

The Play-Ground; or, Out- Door Games for Boys. A book of 
healthy recreations for youth. Containing over 100 Amusements. Illus- 
trated with 124 fine wood-cuts. 

Bound in boards, cloth back. Price 59 cts. 

Bound in cloth, gilt side 75 cts. 

The Parlor Magician ; or, One Hundred Tricks for the Draw- 
ing-Room. Illustrated and clearly explained, with 121 engravings. 

Paper covers. Price §0 cts. 

Boards, cloth back 50 Cts- 

The Book of 590 Curious Puzzles. Containing; all kinds 

of entertaining Paradoxes, Deceptions in Numbers, etc. Ulustraterl with 

numerous engravings. Paper covers. Price 30 cts. 

Bound in boards, cloth back 50 CIS. 



Popular Books sent Free of Postage at the Prices annexed. 
Barton's Comic Eecitations and Humorous Dialogues. 

Containing a variety of Comic Recitations in Prose and Poetry, Amusing 
Dialogues, Burlesque Scenes, Eccentric Orations and Stump Speeches, Hu- 
morous Interludes and Laughable Farces, designed for School Commence- 
ments and Amateur Theatricals. Edited by Jerome Barton. 

180 pages, paper. Price 30 Ct3- 

Boards • 50 cts. 

Brudder Bones' Book of Stump Speeches and Burlesque 

Orations. Also containing Humorous Lectures, Ethiopian Dialogues, Plan- 
tation Scenes, Negro Farces and Burlesques, Laughable Interludes and Com- 
ic Recitations, interspersed with Dutch, Irish, French and Yankee Stories. 

Edited by John F. Scott. Paper covers. Price 30 Cts. 

Bound in boards, illuminated e 50 ets. 

Wilson's Book of Eecitations and Dialogues. With In- 
structions in Elocution and Declamation. Containing a choice selection of 
Poetical and Prose Recitations and Original Colloquies. Designed as a 
Beading Book for Classes, and as an Assistant to Teachers and Students in 
preparing Exhibitions. By Floyd B. Wilson, Professor of Elocution. 

186 pages", 16mo., paper covers. Price 30 cts. 

Bound in boards, cloth back 50 cts. 

Spencer's Book of Comic Speeches and Humorous Eeci- 

tiOHS- -A- collection of Comic Speeches and Dialogues, Humorous Prose and 
Poetical Becitations, Laughable Dramatic Scenes and Burlesques, and Ec- 
centric Characteristic Soliloquies and Stories. Suitable for School Exhibi- 
tions and Evening Entertainments. Edited by Albert J. Spencer. 

192 pages, 18mo.. paper covers. Price SO cts. 

Bound in boards, cloth back 50 cts. 

Frost's Dialogues for Young Folks. A collection of Orig- 
inal Moral and Humorous Dialogues. Adapted to the use of School and 
Church Exhibitions, Family Gatherings, and Juvenile Celebrations. By 
►S. A. Frost, author of " The Parlor Stage." Paper covers. Price... 30 cts. 
Bound in boards, cloth back, side in colors 50.cts« 

Amateur Theatricals, and Fairy-Tale Dramas, A collec- 
tion of Original Plays, expressly designed for Drawing-room performance. 
By S. A. Frost. This work is designed to meet a want, which has been long 
felt, of short and amusing pieces suitable to the limited stage of the private 

parlor. 16mo., 188 pages, paper covers. Price SO cts. 

Boards, cloth back . c , 50 cts* 

Parlor Theatricals ; or, Winter Evening Entertainment. A 
collection of Dramatic Amusements and Comic Plays. Illustrated with 

cuts and diagrams. Paper covers. Price 30 cts« 

Bound in boards, cloth back 50 cts- 

The Parlor Stage. A collection of Drawing-Hoom Pro- 
verbs, Charades and Tableaux Vivants. By Miss S. A. Frost. These playg 
are intended solely for performance by a small party of friends, in private 
parlors, and require but little trouble or expense to render them effective. 
368 pages, small octavo, cloth, gilt side and back. Price SI 50 

Frost's Book Of Tableaux. Containing 160 Tableaux 
Vivants, with directions for arranging the stage, costuming the characters, 
and forming appropriate groups. By S. Annie Frost, author of " The 
Parlor Stage, "Amateur Theatricals, " etc. To those who desire to get up 
an evening's entertainment, this book will prove an invaluable assistant. " 

Paper covers. Price . . , ,q() c f s . 

Bound in boards, cloth back 50 ets- 



Popular Books sent Free of Postage at the Prices annexed. 
Bay's American Ready-Reckoner. Containing Tables for 

rapid calculation of aggregate values, wages, salaries, board, interest 
money, etc. Also, tables of timber, piank, board and log measurements, 
with full explanations how to measure them, either by the square loot, 
(board measure), or cubic foot, (timber measure.) All the tables are origi- 
nal and reliable. 

Bound in boards. Price 50 cts. 

Bound in cloth, gilt side and back 75 C fa 

Bound in leather tucks (pocket-book style) gl CO 

Brisbane's Golden Ready-Reckoner ; or, Lightning Calcula- 
tor. A valuable assistant to Farmers, Traders and Housekeepers, in buy- 
ing or selling- all kinds of commodities. 
Bound in boards, cloth back. Price 35 cts. 

Frost's Original Letter- Writer. A complete collection of 

Original Letters and Notes, upon every imaginable subject of Every-Day 
Life, embracing 300 Letters and Notes. To which is added a Comprehensive 
Table of Synonyms. By S. A. Fhost, author of " The Parlor Stage." 
202 pages, boards, cloth back, side in colors. Price 50 Cts. 

North's Book of Love Letters. With directions how to 

write and when to use them, and 120 specimen Letters, suitable for Lovers 
of any age and condition, and under all circumstances. ,By Ingoldsby 

North. Bound in cloth. Price 75 Cts. 

Bound in boards , 50 Cts. 

Hillgrove's Ball-Rooin Guide and Complete Dancing Mas- 
ter- With easy directions for calling out the figures of any dance. Illus- 
trated with 17G descriptive engravings and diagrams. By Thos. Hillgrove, 

Professor of Dancing. Bound in boards, cloth back. Price 75 cts. 

Bound in cloth, gilt sides SI 00 

The Young Reporter; or, How to Write Short-Hand. A 
Complete Phonographic Teacher, intended as a School-Book, to afford thor- 
ough instructions to those who have not the assistance of an Oral Teacher. 
By the aid of this work, any person of most ordinary intelligence may learn 
to write Short-Hand, and report Speeches and Sermons, in a short time. 
Bound in boards, with cloth back. Price -50 cts* 

Martine's Sensible Letter-Writer. Containing 300 Sensi- 
ble Letters and Notes on the simplest matters of life, adapted to all ages 
and conditions. Model Letters on any subject may be found in this book. 
By Arthur Martine. 

207 pages. Bound in boards, cloth back. Price 50 cts. 

Cloth, gilt side and back ; 75 CtS. 

Martine's Hand-Book of Etiquette and Guide to True 

Politeness. A complete Manual for all those who desire to understand 
good breeding, the customs of good society, and to avoid incorrect and vul- 
gar habits. By Arthur Martine. 

Bound in beards, cloth back. Price 50 cts. 

Cloth, gilt side and back 75 CtS. 

Martine' s Letter- Writer and Book of Etiquette Combined. 

Being both of the above books printed on fine paper and bound in one vol- 
ume. Cloth, gilt. Price....- SI 50 

The Perfect Gentleman. A Book of American Etiquette. 
Containing Model Speeches for all occasions, with directions how to deliver 
them, Table Wit and Conversation, etc. 12mo., cloth. Price SI 50 



Popular Books sent Free of Postage at the Prices annexed. 

The Modern Pocket Eoyle. Containing all the Games of 
Skill and Chance, as played in this country at the present time ; being "An 
authority on all disputed points." By " Trumps." This valuable manual 
is all original, or thoroughly revised from the best and latest authorities, 
and includes the laws and complete directions for playing one hundred and 
eleven different Games — comprising Card Games, Chess, Checkers, Domi- 
noes, Backgammon, Dice, Billiards, and all the Field Games. 

16mo., 388 pages, paper covers. Price 50 cts. 

Boards 75 Cts. 

Cloth, gilt sides gl 25 

Earey and Knowlson's Complete Horse-Tamer and Farrier. 

A new and improved edition, containing Mr. Rarey's whole Secret of Sub- 
duing and Breaking Vicious Horses, together with his Improved Plan of 
Managing Young Colts, and breaking them to the Saddle, the Harness and 
the Sulkey. Also, The Complete Parkier ; or, Horse Doctor ; a Guide for 
the Treatment of Horses m all Diseases to which that noble animal is liable, 
being the result of fifty years' extensive practice of the author, John C. 
Knowlson. Illustrated with descriptive Engravings. 
Bound in boards, cloth back. Price 50 Cts. 

11 Trumps' " American Hoyle ; or, Gendemarfs Hand-Booh of 
Gamts. Containing clear and complete descriptions of all the Games played 
in the Unites States, with the American Rules for playing them. The whole 
contains 525 pages, is printed on fine white paper, bound in cloth, with 
beveled edges, and is profusely illustrated with engravings explaining the 
different Games. 

Price S3 00 

Half calf, marble edges , 4 00 

Spayth's Draughts or Checkers for Beginners, Being a 

comprehensive Guide for those who desire to learn the Game. This treatise 
was written by Henry Spayth, the celebrated player, and is by far the 
most complete and instructive elementary work on Draughts ever published. 
Small octavo, cloth. Price 75 cts, 

The Game of Draughts or Checkers, Simplified and Ex- 

plained. "With Practical Diagrams and Illustrations, together with a 
Checker-board, numbered and printed in red. Containing the eighteen 
standard games, with over 200 of the best variations. By D. Scattergood. 
Bound in cloth, with flexible cover. Price. , 50 CtS. 

Marache's Manual Of Chess. Containing Preliminary 
Games for Beginners, fifty Openings of Games, giving all the latest discov- 
eries of modern masters, with best Games and Copious Notes, Endings of 
Games, Problems, Diagrams, etc. By N. Mar ache. 

•Cloth, gilt side. Price 75 c tg. 

Bound in boards, cloth back 50 cts« 

Duncan's Masonic Ritual and Monitor; or, Guide to the 

Three Symbolic Degrees of the Ancient York Rite. And to the Degrees of 
Mark Master, Past Master, Most Excellent Master, and the Royal Arch. 
Containing all the Lectures, etc. By Malcolm C. Duncan. 

Bound in cloth. Price <£2 50 

Leather tucks (pocket-book style) with colored edges 3 00 

Richardson's Monitor of Freemasonry. A Complete Guide 

to the various Ceremonies and Routine in Freemasons' Lodges, Chapters, 
Encampments, Hierarchies, etc. 

Paper covers. Price 50 cts 

Cloth, gilt , SI 00 



Popular Books sent Free of Postage at the Prices annexed. 



Walker's Ehyming, Spelling and Pronouncing Diction- 
ary of the English Language. Containing 

IV. Many of the most difficult Words 
rendered easy to be pronounced, by 
being classed according to their end- 
ings. 



I. The whole Language arranged ac- 
cording to its termination. 

II. Every Word explained and di- 
vided into Syllables, exactly as pro- 
nounced. 

III. Multitudes of Words liable to a 
double pronunciation, fixed in their 
true sound by a Rhyme. 



V. Numerous classes of Words as- 
certained in their pronunciation, by 
distinguishing them into perfect, nearly 
perfect, and allowable Rhymes. 



To which is added critical and practical Observations on Orthography 
Syllabication, Pronunciation, an Index of Allowable Rhymes, with Author- 
ities for their usage, etc. 
Royal 12mo., 700 pages. Price S3 CO 

Every Woman Her Own Lawyer. A Private Guide to all 

matters of Law, of essential interest to Women, and by the aid of which 
every Female may, in whatever situation, understand her legal course and 
redress, and be her own Legal Adviser. By George Bishop. Large 12mo., 
nearly 400 pages, bound in half leather. This book should be in the hands 
of every woman, young or old, married or single, in the United States. 
Price &1 50 

Laughing Gas. An Encyclopaedia of Wit, Wisdom and 
Wind. By Sam Slick, Jr. Comically illustrated with 100 original and 
laughable Engravings, and nearly 500 side-extending Jokes, and other 
things to get fat on ; and the best of it is, that everything about the book 
is new and fresh — all new — new designs, new stories, new type — no comic 
almanac stuff. It will be found a complete antidote to " hard times." 
P ric e 25ctS. 

10,000 Wonderful Things. Comprising the Marvellous 

and Rare, Odd, Curious, Quaint, Eccentric and Extraordinary, in all Ages 
and Nations, in Art, Nature and Science, including many Wonders of the 
World, enriched with hundreds of Authentic Illustrations. 
12mo., cloth, gilt side and back. Price SI 50 

William H. Lingard's On the Beach at Long Branch 

Song Book. Containing all his Original Songs, and a complete collection 
of the Songs sung by the great and inimitable Impersonator, William 
Horace Lingard, including the Music of his principal Songs. 
Illuminated cover, 128 pages. Price 25 CtS. 

The Game Of Whist. Eules, Directions and Maxims to be 
observed in playing it. Containing, also, Primary Rules for Beginners, 
Explanations and Directions for Old Players, and the Laws of the Game. 
Compiled from Hoyle and Matthews. 
Price 12 CtS. 

/The Corner Cupboard ; or, Facts for Everybody. By the 
Author of "Inquire Within." Large 12mo., 400 pages, cloth, gilt side and 
back. Illustrated with over one thousand Engravings. 
Price SI 50 

Book of 1,000 Tales and Amusing Adventures, Contain- 
ing over 300 Engravings, and 450 pages. This is a magnificent hook, and is 
crammed full of narratives and adventures. 
Price SI 50 




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Popular Books sent Free of Postage at the Prices annexed. 



DO NOT FORGET 

That on receipt of the price, either in cash or stamps, copies of any Books in this 
List will be sent to any part of the United States or Canadas, either by mail or ex- 
press, securely and neatly packed, postpaid. Eecollect ! any book you want you 
can have at the advertised pr 'ice, and your order will be dispatched the same day it 
is received. No charge for catalogues or information. 



TALES OF NEW YORK LIFE. 



Caroline Tracy, the Milliner's Apprentice; or, Life in New 

York among the Lofty and Lowly. Being the Komantic Adventures of a 
Young Girl in New York during 1847 and 1848. This is a spirited romance 
of New York Lite, and exposes some of the mysteries of this great city, in 
a way which will make the uninitiated stare. It is a book of near 100 
dosely-prj^-^— J%^^ i<%^%,<%.<^%^<%>^.<%,<%,<%^%(ji ■ ' -25 CtS. 

*££# LIBRARY OF CONGRESS, tlu^t 

Tis. This A of a mys- 
terious en a i & / A) o all sorts 
of queer j J ^/^A. I J . / 8 » fo J per, to the 
smart law W / ' W 
Price.... | ^ AJ , #...25cte. 

The Bell ^ f j J L> £>roflife 

in and arc J ^afafUyM ^M. <-(~Or> Lf Tlohomea 
get along, # /S </ w J % «, tf"f i boys, etc. 
Arich, ar$ 1 ,< |>;...25ctS. 

Ellen Gi* UNITED STATES OF AMERICA. J » exdt- 

ing novel T. W_ ppolis. Ifc 
vividly dc B^^^^^^^^^^^^^^^^^^^jlfim f vice, 
and greenhorns the prey of sharpers. The novel embraces 117 pages of 
closely printed matter. Price &5 ctS. 

The Orphan Seamstress. A Narrative of Innocence, Guilt, 
Mystery and Crime. By the author of " Caroline Tracy." This narrative 
of events m New York is especially interesting, as it alludes to incidents 
which every newspaper reader must remember. Price 25 CtS. 

Clarence Bolton. A New York story, with city life in all 
its phases. This is one of those fascinating tales of city life that gives an 
insight into every class of society. Price 25 CtS* 

Grace Weldoil ; or, Tiie Pretty Milliner. This is a story about 
the Sewing Girls of Boston. Full of fun and adventure. Any person who 
desires to read a lively story should not fail to g»t this work. 
Price 25cts. 

Chips from Uncle Sam's Jack-knife. Illustrated with over 

100 Comical Engravings, and comprising a collection of over 500 Laughable 
Stories, Funny Adventures, Comic Poetry, Queer Conundrums, Terrific 
Puns, "Witty Sayings, Sublime Jokes and Sentimental Sentences. The 
whole being a most perfect portfolio for those who love to laugh. 
Large octavo. Pries 25 CtS. 



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